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, RECOGNIZED ITALIAN EXPERT AND ANTIQUARIAN . 


MADISON SQUARE SOUTH 
“ NEW YORK 


a 


"RANCIS > Wirithis Seinen: at 
and, Obie, “December: 14; 1997, son 
late Reuben Comstock: and Cor ‘nelia 
tone, .. Funeral private. | Inter- 
odlawn. .- | eperaceogmaa papers 


tre Phe oe 


ty Sor & 40 St. Wes, at.S. 
‘prices running well over & Sat. at. 2. 


| ‘the famous plete fo NEXT OXBay Ah ay 8 P 
ding on, id iho SS Bee (ETHEL: THE LADY 


Be ORE CAMELLIAS 


 SHATS | tH a SALE. 


KEKBOCK way & 38th pute 
8:20., Mats. Sat Sena & Wed... 2:20, 


IDONAL D HER ESSERE 
On Res shell Be esenes oper Gah 1 R Li A WREGIMENT a 


stands Europa, while abouth ae RO 9 Sue AM 
other female figures, in bright) | . : " 
and greens, with feather eae] PAAR AAW RT 


a a the BAYARD sii ra = ; = - = 
ay i * BERT 3 Viatines meee Ad 30. 


ng te Si eli ns ta : if “Advance fn ASS WIDt $2. 
deners,” also was taken b ) PTH in GR A Ww DOW 
ao ie it oe oe s | A rT USICAT. ¢ COMEDY IN TOWN. 
aie neice Cc, 750 Seats Tro-Mor’ w 


A MUSIGAT 
GOING. UP.  OOMEDY NOVELTY, 


[Le koa Neae ree Woot ARth af Men 2-8 8 


“REACHES. $87 16; 
‘$4.00 TOP PIC 


Bale of Velvet Table Cover a Feature} 
of Session at American 
Art Galleries. 


et 
pad See eS 


eee SET 


Old weaves from Ttalian looms of the 
‘Renaissance, other: historic and. highly 
;embellished textiles, and fine examples of 
fifteenth and sixteenth century furniture} 
eaused lively bidding and. brought high 
prices at the second session of Professor | 
Wi Wolpi’s sale of early Italian art ob-| 
jects at the American Art Galleries yes-| 
terday afternoon, 

The sheéts at the end of the sale showed 
ireceipts of $59,235, making a grand total of 
867.915. The third and last session, to-day. 
will witness the dispersal of the most in-| 
teresting and valuable objects in the col-}, 
lection. Se 

The assembly room was filled yesterday } 
‘throughout the auction. Among those | 
‘bidding were Mrs. William Guggenheim, } 
‘David Belasco, Mr. and Mrs. Pembroke 
Jones, Mr. and Mrs: Daniel G. Reid, } 
Mrs. H. L. Topping, Miss Elsie Ferguson, | 

ct. Crocker and David Warfield. 

-A&° magnificent sixteenth century Italian | 
‘wejvet table cover, purchased by YS Ge is 
‘Lorenz, agent, prought the top price of 


‘the sale so far, going at $4,000. The cover) 
measured seven’ feet seven inches by SiX}) 
‘feet. and was finely embroidered... The} 


‘second high price of the sale was a seven- 


-tgenth century Italian large velvet table}; 


‘cover, twenty-one feet, three and three- 
‘quarter inches long and eleven feet six 


-inches wide, which was taken by W. W.|| 
Seaman, acting. as agent, at $3,400. Still}, 
‘other textiles, four’ single lots of seven-|) 


teenth century Italian velvet covers, were 


“tijken under the buying name Mr. An-|| 
drews by 2 collector at $1,000 the lot. | 


Sixty-six yards of eighteenth century 


‘Italian damask sold to Vitall Benguiat for) 


}$1,820, and the same puyer took four seven- 
SMeenth century Italian velvet covers at 
‘$200 each. <A sixteenth century Italian vel- 
vet cover, richly worked, sold to Otto Ber- 
met, agent, et $1,360. 


Vitall Benguiat took two sets of six} 
ebairs of ornate early lialian make’ at}! 
ise cach-set. One set was of sixteenth]! 


-eontury, Ligurian wainut covered with 4 
ivich, finely worked and imposing embroid- 


ery. The same buyer took another set of 


six atm chairs, sixteenth century, Italian 
‘it thegsaare ‘price. 


Several«arge, intricately carved, mass-|) 


tive, gilt-frames were sold, one of which, 


eB sixtsénth century Venetian frame, of} 


‘Wydod, carved, picrced, gilt and painted, 


*hs sold to Mr. Lebrun at $690, Another} 


‘emailer frame, three feet three inches bY 
‘two feet six inches, sixteenth century; 
Ntalian, carved and gilt syvood, went to 
Ot‘. Bernet, agent, at $410. 


YORK, 


Kirst Collection Brought $1,000,000 
-—Receipis of £8,680 at Start 
offPresent Dispersal. 


Professor® Kil Votci's gecond collection : 
of Italianrart trom the Dayansati Palace — ) 
‘was put on sale in the American Art Gal- 
‘ieries yesterday afterneon, and the first 
\vaasion provent sow. His sale 105 sea- 
ison, when @ collection from the same 
‘source Was dispersed, realized practically 


$1,000,000. 
| Copper and iron works of the fifteenth — 
| and «sixteenth centuries, decorative cush- 

ions from these periods and embroidered 

pheraldic escutcheons were the important 

classes of items offered yesterday- Her- 

ee devices were used in Italy. more than 

l any other land as decorative adjuncts: 18 : 
leurniture. wall decenations, covers and 

\ hangings. and a rich collection of these, 
| worked in threads of gold and silver, fam 
' siar features of Italian Renaissance homme 


lof Italian art fr 


| classes’ ‘of items offered 
laldic devices were Used 
| any other land as 
furniture. wall 
hangings, aid & 
worked in threads Of 
iar features of Teali 
life, were dispersed. — 
‘Mrs. Robert Glendenme, tas 
teenth: century, Si nese cok 
\eotta bust at $420, paid the 
line sale. Mire, FR (ke 
\for a pair of seVvente 11 
velvet cushions , six 


‘life. were dispersed. s 
Mrs. Robert Glendening, taking 2 Sik- — 
‘teenth century, Sienese eolored, terra 
cotta bust at. $420, paid the high price of 
the sale. Mrs. H. L. ‘fopping save $100 
for a pair of seventeenth century Ttalian 
velvet cushions, five feet, six inches long 
and one foot, nine inches wide, and 2 SLxX> 
teenth  ceneury Florentine embroideret 
linen tablescover sold to Me. Andrews at — 


| five feet, 
\and one foot, nine inches wide, 


3200. A pad of seventeenth century Flar- lteenth century’ 1 

entine satin. cushions sold to Vitall Bem =) tinen table cover Mr 
iguiat at ‘400, and another set of four $200. A pair of s 

| cushions, of velvet, of this period, went entine satin cushion 

‘to the same puver “for $340. f | guiet: at $400, and another 
| Mrs, Daniel G. Reid, Joseph Laroecgue. | cushions, of Velvet, of this 
| teonard M. Thomas, David Warfield, \ to the same buyer for & a: 
leobert H. Loeb, A. Kingsley Porter and Mrs. Daniel G. Reid, Jose 
Mrs. Arthur Lehman were among the well Leonard ’ ‘Thom ae 
{known art patrons taking part in the bid* l Robert H. Loeb, ie 


Mrs. Arthur Lehuian w 


‘Wing. This afternoon early Tialian furni- 


ture and other embroideries in the collee known art patrons taking: nat 


sion will be put on sale. « iding. ‘This afternoon earl 

Some items of the collection have wot jture and other eimb eries 
yet reached the couniry,, and, thus, fall jion will be put on sale, 
out of the present threeday auction. Some items of the collect: 


yet reached the country 
out of the present three- 


R AND MEZZO) 
FETCH $4,783 AT SALE 


| Collections of rare old English silver 
jand of mezzotints hy S. Arlent Edwards 
twere sold yesterday] afternoon and even- 
‘ing at the new And®rson Galleries, Wifty- 
ninth street and Patk avenue. The silver- 
jware, specimens of¥the silversmith’s art of) 
the Georgian period, prought $6574, wihile 
‘the mezzotints realized 93.9009, making A 4. 
grand total for theaday of $4,7s. 
; A. fine silver git cup, footing on jae 
ysilver plinth, and modeled her John &. 
tHunt, disciple andisuccessar:off Paul Storr, 
‘Hondon, 1860, sold:to J. B. Wilson at SPAR 
rPhis work. was inseribed wifh the shtintel 
wf six Englishmen, inchudings the Earl ‘ot 
Pitzwilliam, Lord W. Powlestt, M. P., and 
the Marl of durhain. It steod twenty-four 
inches high: and weizghedj17.i44 ounces, 
A George TIi: silver @pergne, made by 
Matthew Boulton, Birmaingham, 1803, was 
taken by B. Craswtordy at $217.50, and the & 


same buyer took a ricthiy ornamented. sil: 
RA PTO Rag. es hax VASA thas yeh 


% 


ON FREE PUBLIC VIEW 


9 A.M. UNTIL 6 P.M. 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


FROM WEDNESDAY, DECEMBER 12th, 1917 
UNTIL THE DATE OF SABE, INCLUSIVE 


ANCIENT ITALIAN 
ART TREASURES 


OF EXTRAORDINARY ARTISTIC AND HISTORICAL INTEREST 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


ON MONDAY, TUESDAY AND WEDNESDAY AFTERNOONS 
DECEMBER 17th, 18th AND 19th, 1917 


AT THE AMERICAN ART GALLERIES 


BEGINNING EACH AFTERNOON AT 2.30 O’CLOCK 


AUG +L 


1918 


430—Firreenrn Century Marare Sr. Joun 
By Antonio Rossetiino (1427-1490) 


ILLUSTRATED CATALOGUE 


OF HE 


EXTRAORDINARY COLLECTION 


OF 


ART TREASURES AND ANTIQUITIES 


ACQUIRED DURING THE PAST YEAR BY 


PROFESSOR COMMENDATORE ELIA VOLPI 


THE RECOGNIZED ITALIAN EXPERT AND ANTIQUARIAN 


AND RECENTLY BROUGHT TO AMERICA BY THEIR OWNER 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


AT THE AMERICAN ART GALLERIES 
ON THE AFTERNOONS HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 


MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 


AMERICAN ART ASSOCIATION, MANAGERS 


MADISON SQUARE SOUTH, NEW YORK 
O17 


ALL DETAILS OF ILLUSTRATION | 
TEXT AND TYPOGRAPHY 


INTRODUCTORY 


Gratified and deeply impressed by the marked success of the 
last year’s sale of my Davanzati Palace and Villa Pia Collections, 
I returned to Italy charged with a resolution to acquire more of the 
treasures of the art of the Italian Renaissance which I might offer 
to American amateurs and connoisseurs. 

To do this I found it necessary not only to contribute many 
objects I had myself gathered together in former years but which, 
for one reason or another, had not been included in my former sale, 
but also to secure the active co-operation of private collectors and 
leading dealers throughout Italy. ‘The results of these endeavors, 
materially aided by my intimate knowledge of the art of the Renais- 
sance and later periods, are to be seen in the important collection I 
now offer for the unrestricted public competition of the people of 
America. 

The beauty, subtlety and charm of old Italian Furniture have 
taken a firm hold on the affections of the people of this country, and 
I accordingly felt that I was acting wisely in sparing neither time, 
energy nor money in bringing together the most interesting pieces it 
was possible for me to secure. 

Nor did I confine myself to any epoch or period. It was my 
aim to make a compelling showing of the unrivaled skill and ability 
of Italian furniture-makers of many generations of the fifteenth, six- 
teenth and seventeenth centuries, and I have, therefore, included 
many fascinating examples of later schools, such as that of Venice 
in the eighteenth century. 

Italian Renaissance Textiles and Embroideries have always been 
highly regarded, and of this regard their wide dispersal throughout 
the world has been an obvious consequence. It therefore gives me 
peculiar pleasure to have brought here a number of early velvets, 
damasks and embroideries such as, I confidently believe, have never 


been seen in this country. 


The Pictures and Sculpture, the Tapestries and Oriental Rugs, 
the Carvings and Metalwork, as well as the minor articles, have all 
been selected with a feeling for associative value as well as inherent 
beauty, and so should convey a very urgent appeal to the students of 
human nature as well as to those who are chiefly influenced by artistic 
worthiness. 

As in my preceding sale, so on this occasion, I have had the ines- 
timable assistance of Professor Silvio Zanchi of Florence and Mr. 
Cesare A. Guglielmetti of Rome, as well as Mr. Horace Townsend, | 
who has so discriminatingly written this catalogue, and to them the 


sincerest of my thanks are due. 
Evia Voirt. 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute arise 
between two or more bidders, the auctioneer shall either decide the same 
or put up for re-sale the lot so in dispute. 


3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 


which the Association is in no wise engaged, and will not be performed 


by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 
for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

7%, Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of any 
lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 


foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


a 
” 
. 
. 


MISCELLANEOUS WORKS OF ART AND UTILITY 


“Ogetti Vari” or “Various Objects” is the term applied by Pro- 
fessor Volpi to a section of his collection which will have an especially 
widespread interest. 

In its simple comprehensiveness the phrase suggests what is 
probably the most outstanding feature connected with Italian art 
of Renaissance times. Not one or two things, but everything, was 
glorified by the innate love for beauty which guided the hand of its 
fashioner, and whether it were intended for use or ornament it re-- 
ceived an equal amount of artistic consideration. So it is, therefore, 
that the originator of this collection has evidently been as much at- 
tracted by the skill of the silversmith who wrought the spoons and 
forks which set forth the table as by the genius of the painters and 
sculptors who limned the pictures and chiseled the statues which 
adorned the Salas of the noble sixteenth century Florentines. Nor 
is his attitude far different from that of the average American lover of 
beautiful things, and so it is entirely likely that almost as much at- 
tention will be attracted by some graceful torchére of wrought iron, 
some marvelously ciselé casket of silver and bronze, some plaque or 
inkstand of cast bronze, as by the Textiles, the Furniture and the Pic- 
tures which form a more important feature of this collection. 


Het 


FIRST AFTERNOON’S SALE 


MONDAY, DECEMBER 17%, 1917 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 0’ CLOCK 


Catalogue Nos. 1 to 167, inclusive 


MISCELLANEOUS OBJECTS 


I—S1rx SIXTEENTH CENTURY FLORENTINE SPOONS 
Straight handles and circular bowls. Of chased and gilded 
metal. The fronts of the handles inlaid with oval medallions 
Oy ~ of lapis-lazuli, the backs engraved with the coat-of-arms of the 
Medici family. 
Length, 8 inches. 


2—F ive SIXTEENTH CENTURY FLORENTINE Forks 
Straight handles, with three tines. Of chased and gilded metal, 
rn the fronts of the handles inlaid with oval medallions of lapis- 


lazuli. 
Length, 814 inches. 


First Afternoon | 
3—SEVENTEENTH CENTURY ITALIAN igre IKNIVES 
AND SILVER SPOONS AND Forks 

Original sideboard-shaped case with hinged sloping ld, cov- 
ered with black leather, lined with red velvet and fitted with 
| compartments containing eighteen knives, eighteen spoons and 
Ls eighteen forks. The handles of the knives are of pistol-butt 
| shape, voluted and terminating in shells, the spoons are rat- 
tailed, the forks with four tines, and the handles of both have 
octagonal stems ending in octagonal surfaces for engraving. 
Marked with the seventeenth century Venetian mark of a lion’s 

head and wings. 


4—Four SIXTEENTH CENTURY KNIVES | 
Straight blades and handles. Steel blades and gilded metal han- 
gud * — dles with medallions of lapis-lazuli inlaid on both sides. 


Length, 1014 inches. 


G. hata 
5-—SIXTEENTH CrnturY I[rTatIaAn SALT CELLAR 
Square shape, with saucer-shaped depression for salt. Of terra- 
W Y cotta, invested with a white glaze and decorated with scrollings 
jee ee 
Height, 234 inches; width, 31% inches. 


6-——SEVENTEENTH CrenTURY ITaLiAn LEMON SQUEEZER> ? 


Of walnut, with shaped sides and hinged squeezer having a 

- turned cylindrical handle. On rectangular molded base and 

/ y ball feet. | 
Length, 12 inches. 


7—SIXTEENTH CENTURY IratiaAn Iron PapiocKk 
gut - Heart-shaped padlock with key of wrought iron. 


| Length, 2%4 inches; width, 1% inches. 


First Afternoon 

8—SIXTEENTH CENTURY Tuscan Curr Bovuitii Cask 
Oval shape, with removable lid and leather loops at the sides 
for cord by which it was carried. Sides are tooled in relief with 
i¢ acanthus-leaf scrollings and scrolled escutcheons, enclosing, on 


one side, the coat-of-arms of the Hospital of Siena, on the other 
side a heraldic rampant lion. 


Length, 31/4, inches; width, 124 inches. 


9—SIXTEENTH CENTURY ITALIAN BRONZE PENDANT 


Octagonal shape. Of gilded bronze with meridian and compass. 


but Length, 24 inches; width, 134 inches; depth, 144 inches. 


10—SIXTEENTH CENTURY ITALIAN BronzE WericHt HOoLpER 


Circular weight holder for six weights to be used in scale. Fash- 
ioned of wrought bronze. 


Height, 134 inches; diameter, 2 inches. 


1I—StxTEENTH CEentTURY ITALIAN BRONZE PLAQUE 
a Rectangular shape. Of cast and chased bronze framed in 


gilded wood. Subject of “The Madonna with Child Christ.” 


Height, 2 inches; length, 334 inches. 


12—SIXTEENTH CENTURY FLORENTINE BRONZE SEAL 


" Of cast bronze with fine patina. The handle formed as a full- 
length figure of Venus. On the underside of the base is the 
seal of the Medici family. 


Height, 434 iches. 


18—Par or SixreentH Century Iranian Bronze CANDLESTICKS 
Baluster-shaped stems with cylindrical sockets on square 

molded bases with four paw feet. 
Height, 9 inches. 


First Afternoon 


14— EIGHTEENTH CENTURY VENETIAN GILDED BRONZE INKSTAND 


Shaped as an heraldic sejant lion by whose side is a square bat- 
tlemented tower with rows of cannon. On a shaped, pierced and 
put ; scrolled stand with three cabriole legs. Of gilded bronze. 


Height, 11 inches; width, 9 mches. 


15—SIXTEENTH CENTURY VENETIAN Bronze BELL 
Cast and chased with figures and scrollings in low relief. 


16—FrrTeEENTH CENTURY ITALIAN KNOCKER 
,! Door knocker of wrought iron. 


Height, 1114 inches; width, 484 inches. 


17—LatEeE FIFTEENTH CENTURY ITALIAN Door HANDLE 
Door handle of wrought iron. 


Height, 12 inches; width, 434 inches. 


aaa 


18—Pair or EIGHTEENTH CENTURY VENETIAN SILVER CANDLE- 
STICKS 
| AG s Baluster-shaped and fluted stems, with square vase-shaped can- 
| Sf dle-sockets and bobéches repoussé with four circular bosses. On 
square molded bases. 
Height, 1034 inches. 


-19—Parr oF EigHTrENtH CENTURY VENETIAN SILVER CANDLE- 
STICKS | 

Triangular-shaped scrolled and voluted stems, with vase- 

A 0° shaped candle-sockets and bobéches repoussé in a design of 

scrollings. On molded trefoil-shaped bases with voluted rib- 

bings. , 

’ Height, 114% wches. 


20—SEVENTEENTH CENTURY ITALIAN SILVERED CROZIER prey A a 
Of silvered bronze. With long cylindrical staff, in several sec- 


4 (- tions, and head formed as a voluted acanthus-leaf scroll. 


® aoe 


21—SIXTEENTH CENTURY ITALIAN Cur Rock Crysrat Disu 
Octagonal flat shape, formed of plates of rock crystal with 
EB raised paneled centers, the rim cut in small scallops. I'ramed 
bf with bands of engraved and gilded bronze and on four scrolled 


feet of gilt bronze. 
Length, 94% inches; width, 8 inches. 


of ee 


22-SIxTEENTH CrEenTURY ITALIAN Book HOoLpER 
Small box for holding a missal. Of wood covered with dark 
; brown leather, the sides tooled with a scrolled and leaf bordering 
y) * and central floriated medallions enclosing scrolled escutcheons 
occupied with the coat-of-arms of the Medici family. The edges 
are gilt in imitation of book leaves and the clasp is of leather. 


Length, 4 inches; width, 24/4 inches. 


First Afternoon | 3 


23— SEVENTEENTH CENTURY ITALIAN PIsToL 


Inlaid walnut butt and engraved barrel. 
pt : Length, 7 imches. 


24—Two EIGHTEENTH CENTURY ROMAN Bronze PLAQUES 
| Rectangular shape. Of bronze with fine patina decorated with 
x subjects, in relief, of “The Mystic Wedding of St. Catherine” 
and of “The Nativity.” 
Width, i inches; height, JP inches. 


tra jn ae 
25—KigHTEENTH CENTURY VENETIAN SILVER FRAME 
Double frame, with oval-shaped opening for portrait sur- 
rounded by a molded rim and, on both sides, by a wide border 
| 4 Ie of silver filigree work in a design of acanthus-leaf scrollings. 


Height, 684 inches; width, 6 inches. 


26—SEVENTEENTH CENTURY VENETIAN VASE 


Pear-shaped body of copper with repoussé ornamentation. 
pik . Height, 834 inches. 


27—SIXTEENTH CENTURY ECCLESIASTICAL CANDLE SNUFFERS 
AND TRAY 


Italian silver snuffers of scissors-like shape, with pierced and 
fa engraved handles having a cherub chased in relief at the pivot 
/ 7 and the blades engraved with a chalice and instruments of the ~ 
Passion. The tray is oblong, with a border repoussé with 
acanthus-leaf scrollings and ‘Bie, 


28—SIXTEENTH CENTURY same Mrr 
Rectangular shape. Of wood covered on linen canvas having 
je - a raised diapered patterning. The mirror is covered by two 
hinged doors, with hooks, clasps and hinges of gilt iron and 
of floriated design. 
Height, 11% inches; width, 914 inches. 


First Afternoon 


Ahn. Off 


29— SIXTEENTH CENTURY ITALIAN CARVED AND GILDED WoopEeNn 


gS 


BaRREL 
Miniature barrel of carved walnut wood. The hoops carved 
with fruit pendants and gilded, and the heads carved in high 
relief with the coat-of-arms of the Rezzonico family surmounted 
by Papal tiaras and crossed keys. This carving is also height- 
ened by gilding. 


Height, 11 mches; length, 1 foot 7 inches. 


J Tecud os 


30—SIXTEENTH CENTURY WALNUT MINIATURE CHEST OF 


AG 


DRAWERS 
Rectangular shape. Molded top supported by spirally turned 
columns. Frieze fitted with drawer and body with three molded 
and paneled drawers. Molded base and pedestal feet with 


brackets. 
Height, 1 foot; length, 1 foot 5 inches; width, 7 inches. 


831—SIXTEENTH CENTURY ITALIAN Box 


a 


Rectangular box of wood, with removable lid painted, in black 
and white, the lid with a star-shaped medallion surrounded by 
borders of geometrical design and the sides with bands of me- 


dallions. 
Height, 51% inches. 


First Afternoon 


32—SEVENTEENTH CENTURY FLORENTINE INLAID Espony MINIA- 
TURE CABINET | 


Rectangular shape. Of ebony inlaid with ivory. Molded and 
domed top inlaid with lines of ivory and hinged fall front, the 
exterior of which is inlaid in ivory with two broken angled 
panels enclosing inlaid oval medallions of mother-of-pearl sur- 

/v rounded by scrollings and festoons of ivory. The interior is 
fitted with eight small drawers having fronts inlaid with ivory 
scrollings, raised jewels mounted in silver-gilt and silver-gilt 
handles formed as human heads. In the center is a compart- 
ment with hinged door having a front with three round-arched 
niches and ivory inlay. The sides and back are inlaid with 
lines of ivory shaped as broken angled panels. 


i Height, 1 foot; length, 1 foot 10 inches. 


First Afternoon 
nee rine Soe EN. = ree an ee hs POE OOn 


33—SEVENTEENTH CENTURY FLORENTINE GILDED BRronzE AND 
SILVER CASKET 

Rectangular shape, with pyramidal lid. Surmounted by a figure 

) /o of Cupid with outstretched arms on molded square base. Lid 
and sides of gilded bronze mounted with silver, repoussé and 
chased in designs of voluted scrollings and acanthus leaves. 
The lid with four triangular open panels and the sides and ends 
with six square panels filled with crystal. At the front angles 
are half-figures of Angels with clasped hands and voluted ter- 
minations. In the center of the sides are cherubim, acanthus- 
leaf decorated base and pierced scrolled feet. On an escutcheon 
at the back is the date 1651. 


Height, 2 feet 2 inches; length, 2 feet 1 inch; width, 1 foot 5 inches. 


First Afternoon 


LU. bia 


34—FirreentoH Century Irarian Correr or CEertostno Work 
Rectangular-shaped, with hinged lid. The top inlaid in ivory 
and ebony, with chessboard surrounded by a border of geo- 
metrical design, the front with star-shaped medallions and the 
oS “inside of lid with circular medallions. The interior is divided 
into four compartments, of which two have removable lids in- 

laid with medallions of certosino work. 


Length, 11% inches; width, 714 inches. 


35—SEVENTEENTH CENTURY ITALIAN WALNUT Qe 


Model of the papal throne with canopy carved pediment, pan- 
eled fronts and three-quarter round Composite pilasters. 


4 ; 
4S Height, 1 foot 7 inches; width, 1 foot 5 inches; depth, 9 mches. 


36—HarLy FIrreENTH CENTURY ITALIAN PROCESSIONAL CRUCIFIX 
Wooden crucifix cut “en silhouette” and painted with a figure 
of Christ with blood pouring from His wounds. ‘The head is 


| (x, surrounded by a raised nimbus of gesso and above is a label 
painted “I. N. R. I.” | 


Height, 2 feet 1 inch; width, 1 foot 2 inches. 


(rv “eee 


37— FIFTEENTH CENTURY CAFFAGIOLO WaARE PHarMACY ALBA- 
RELLO 


- Incurved cylindrical shape with two looped and twisted handles. 

7 Decorated with the name of the drug scrollings and zigzag in 
blue and yellow on white ground. 

Height, 584 mches. 


First Afternoon 


UE ple os 


38—Firreenra Century Carracio.o Warr Vase 
-Pear-shaped body with two looped handles. Decorated, on a 
white ground, with a conventional fish and oak-leaf sprays in 
blue and manganese. 


a 


Height, 744 inches. 


39—SIxTEENTH CENTURY FLORENTINE MasoiicA Ware TILE 
Square shape, of glazed majolica. Decorated with raised cir- 


3 24 4 cular rayed medallion enclosing the Sacred Monogram in raised 
letters. Yellow medallion and white lettering on a blue ground. 


Height, 834 inches; width, 8% inches. 


H 
is 
i 
4 


First Afternoon 


40 


J. Uae 


40—SIXTEENTH CENTURY F'LORENTINE GLAZED /‘TERRA-COTTA 
BouQueET 
45° Circular bunch of fruits and flowers, with a frog, glazed in their 


natural colors. Of the Della Robbia School. 


Diameter, 101% inches. 


a .§ dawn 4 Coat. 
41—SIXTEENTH CENTURY FLORENTINE GLAZED ‘'TERRA-COTTA 
BouQueETtT 


- Circular bunch of fruits and flowers with a frog, glazed in their 
natural colors. Of the Della Robbia School. 


Diameter, 101% inches. 


7 


. 


42—SIXTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA 
BASKET : 

- Circular basket modeled to represent wickerwork and filled with 
|” pomegranates and other fruits, with leaves glazed in their 


natural colors. Of the Della Robbia School. 


Height, 6 inches; diameter, 12 inches. 


First Afternoon 


43 44 


43—SIxXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA 
BASKET 
_ Circular basket modeled to represent wicker-work and filled 
Le with melons, other fruits, leaves, a snail and a frog, glazed in 
their natural colors. Of the Della Robbia School. 


Height, 6 inches; diameter, 10°4 inches. 
¢ Mare. 
44—SIXTEENTH CENTURY FLORENTINE’ GLAZED '‘TERRA-COTTA 
BASKET 
Circular basket modeled to represent wicker-work and filled 
fi Ns with pomegranates, other fruits, leaves and a frog glazed in 
their natural colors. Of the Della Robbia School. 


Height, 6°4. inches; diameter, 12 inches. 
03. G9 Kerr, 
45—SIXTEENTH CENTURY ITALIAN Masouica VASE 


Bottle shape. Of Orvieto ware with conventional decorations 


’ ( in green and manganese. 
Height, 51% inches. 


First Afternoon 


46—SIXTEENTH CENTURY FLORENTINE GinpED Bronze Bust 

Small bust of the Madonna with long hair confined by a narrow 
circlet, in tunic and mantle secured by a brooch shaped as a 
iW v winged cherub, on a rectangular molded base. Of hammered 


bronze gilded. 
Height, 114% inches. 


First A fternoon 


ee ie. Prt - 
47—FIrTEENTH CENTURY FLORENTINE STONE Bas-RELIEF BY 
“DESIDERIO: Fianwedieg A Spmone. 

Rectangular shape. “Of black stone of Fiesole. Portrait bust 

in low relief of a young woman. Shown in profile looking to 

/ y the right, the flowing hair ending in two locks weighted with 
pendants, secured by a fillet. Dressed in under robe with 
meander border around neck and mantle with deep incised bor- 


dering. Enclosed by molded frame on three sides. 


¢ 


Height, 1914 inches; width, 124% inches. 


Note: This bas-relief is attributed to Desiderio da Settignano 
(1457 ?-1485). 


Pe 


First Afternoon 


a ar 
yo of ¢ hatha 
48—SIXTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA OF 
JOHN THE BAPTIST OF THE DELLA RoppiA SCHOOL 


The youthful Saint with curling hair, a gilded halo, clothed in 
a tunic of goatskin, mantle and sandals and carrying a floriated 
cross, 1s shown standing against a rocky background from 
which issues a stream of water. On the right side are a lily 
and a squirrel, on the left a couchant stag, in the foreground 
a frog and serpent, and behind the Saint a label inscribed in 
Latin: “Prepare ye the way of the Lord.” The background 
is glazed in gray with green and yellow grass and a white lily, 
the stag is manganese colored, the other animals in their 
natural colors, while the face and figure of the Saint are in flesh 
color, his tunic yellow and his mantle of manganese. 


Height, 1234 inches; width, 1614 wmcehes. 


First Afternoon 
SL 


One W Mintoesing 


49—SIXTEENTH CENTURY SIENESE COLORED TERRA-cOTTA Bust 


Bust of St. John the Baptist, with curling hair and a halo, 
‘ robed in a goatskin and holding in his right hand a slender 
yf tig cross. On octagonal molded base. In polychromed terra-cotta. 


Height, 251% inches. 
Note: This bust is attributed to Cozzarelli, a Sienese sculptor of 


the sixteenth century. fe Wi, A thette 


50—SEVENTEENTH CENTURY VENETIAN CARVED AND PAINTED 
Woop RELIQUARY 
ne Chasse-shaped with gabled hinged lid. Painted and gilded, the 
} front carved with circular medallions occupied by figures of 
Saints. 


Height, 1 foot 4 inches; length, 2 feet 11 inches; width, 2 feet 1 inch. 


First Afternoon 


51—Patr oF FIFTEENTH CENTURY UMBRIAN PAINTED Woop 
CARVINGS 


Figures of kneeling angels, carved in wood and painted natural- 
as istically. With filleted hair, tunics, loose robes, bare feet and 
vv outstretched wings, holding ball-shaped pedestaled candle 
sockets. On octagonal gilded and molded bases with plinths 
decorated in sgraffito work. 
Height of figures, 2 feet 3 mches. 


Length of bases, 1 foot 4°4 inches. 


First Afternoon 


Oh Are 
52—FIFTEENTH CENTURY FLORENTINE PAINTED ‘TERRA-COTTA 
| Figure. Arrrisutep TO ANTONIO RossELLINO (1427- 

: 1490) 
th Nude figure of the Child Christ with curling hair, reclming on 
His back with His left hand raised to His mouth. Modeled in 


terra-cotta and naturalistically colored. In boat-shaped cradle 
of walnut carved in voluted scrolls painted blue and gilded. 


Length of figure, 14 inches; length of cradle, 2414, inches. 


First Afternoon 


58—EIGHTEENTH CENTURY VENETIAN SIXFOLD TABLE SCREEN 
The folds, with reeded side supports, and shaped crestings | 
and aprons, are divided into panels by shaped horizontal stiles. 
. All lacquered in gold on red grounds. The panels are filled 
f with white silk, the upper ones painted with trees, exotic birds 
and figures of men and women in eighteenth century costumes, 

the lower ones with groups of figures, birds and animals. 


Height, 2 feet; length when open, 5 feet 1 inch. 


Jo. €:% Fame 


54—SIXTEENTH CENTURY ITALIAN WALNUT HaATRACK 


Rectangular shape. Molded cornice, plain frieze, inlaid with 

- _ bands of certosino work of a geometrical design and fitted with 
n? 3 . : 

seven turned pegs; molded apron. Frieze and apron partly 


gilded. 
Height, 81% inches; length, 3 feet 2 mches. 


J) —Fa i 
Ad Ge ALM © 
55—SIXTEENTH CENTURY ITALIAN WaLnut HatTrack 


7- scrolled and voluted wall plate, enriched above and below with 
5 > carved shells. Fitted with two scrolled and voluted holders 
for broad-brimmed hats, decorated with incised lines. 


Height, 1 foot 24% inches; length, 2 feet 6 inches. 


First Afternoon 


56—SEVENTEENTH CENTURY ITLIAN Wait C1Lock 


Enameled dial with bob pendulum and case of gilded metal 
embossed in a design of acanthus-leaf scrollings. 


Height, 1 foot 7 inches; width, 1 foot 1 inch. 


ca ee 


57—SIXTEENTH CENTURY VENETIAN LUTE 


Heart-shaped body, with flat back. Head carved with masks 
and scrollings, and the neck at junction with the body with a 
grotesque mask in front and at the back with a scrolled escut- 
cheon enclosing a painted coat-of-arms flanked by the painted 
initials “A. S.” ‘The sounding board has a circular pierced and 
carved opening. 

Length, 2414 inches; width, 914 inches. 


(3.1. Cattell - 


58—STAINED GLASS MEDALLION 


ae 


Circular shape, of leaded stained and painted glass. In the 
center the Paschal Lamb and a fleur-de-lis in a diamond-shaped 
escutcheon, surrounded by a border of flowers, fruits, leaves and 
masks. 


Sif ery fee ae 
pva 9 7. 


59—STAINED GLASS WINDOW 


A 


Leaded with quarrels in a geometrical pattern of interlacing 
square and octagons, and having in the center a scrolled 
escutcheon enclosing a heart-shaped shield charged with the 
arms of the Medici family. In stained and painted glass. 


COPPER AND IRON OF THE FIFTEENTH AND SIXTEENTH 


CENTURIES 


60—SIXTEENTH CEenTURY ITALIAN IRON STEELYARD 


yuk 


Small steelvard or weighing balance of wrought iron. 


Height, 934 inches; length, 1034 inches. 


First Afternoon 


61 62 


DO. fn 


61—SIXTEENTH CrenTUuRY ITALIAN Brass FOUNTAIN 
— Pear-shaped body with hinged domed cover, looped handle, 


> a 


go curved dragon’s head spout, plain faucet with straight handle 
and circular foot. 


C 


ea 1 foot 8 inches. 


62—SIXTEENTH CENTURY ITALIAN Brass Jom ff Cope 


Pear-shaped body with hinged domed cover, looped handle, 
407 carved dragon’s head spout, dragon’s head faucet with dolphin 
handle and circular foot. 


Height, 1 foot 8 inches. 


First Afternoon 


dor 0. Cyathea 


6383—SIXTEENTH CENTURY ITALIAN Brass FOUNTAIN 


Pear-shaped body with flat hinged lid, looped handle with fe- 
male head as thumbpiece, carved octagonal dragon’s head spout, 
two dragon’s head faucets with dolphin handles and circular 


foot. 
Height, 2 feet 1 inch. 


First Afternoon 


L I, the 


65—Pair or FIrreentH Century ITALIAN WROUGHT-IRON 
CANDLESTICKS 


Baluster-shaped stems formed of four wrought-iron serrated 
po? and pointed leaves ending in volutes and supporting vase- 
shaped sockets. On tripod bases of wrought strap-iron scroll- 

ings. 
Height, 1 foot 44% imches. 


First Afternoon 


66—Pair oF FirreentuH Century FLORENTINE WROUGHT-IRON 
TORCHERES 

Straight stems of wrought iron, with turned collars supported 
a and surmounted by pointed leaves supporting circular bobéches 
yf 0 with serrated edges and scrolled strap-iron bracketings. ‘Tripod 
bases ofscrolls and voluted strap-iron secured with wrought-iron 

collars. Iron candle prickets. 
Height, 4 feet 1 ich. 


First Afternoon 
67— FIFTEENTH CENTURY FLORENTINE Copper BasIN WITH 
WROUGHT-IRON STAND 
9° Shallow basin of copper with curved rim and swinging ring 
y) J handles. Stand of wrought-iron bars forming four scrolled and 
curved legs supporting two horizontal circular bands of 
wrought-iron bars. 


Height, 2 feet 41% inches; diameter of basin, 2 feet 114 inches. 
(Illustrated) 


oe Kanga 
68—Pair OF FIFTEENTH CENTURY“F'LORENTINE WrovuGHt- -IRON 
ToORCHERES 

Straight stems of square wrought-iron rods decorated with three 
collars of strap wrought-iron voluted scrollings and pointed 

- leaves supporting curved arms of wrought-iron rods and a center 
stem decorated with a double banding of wrought-iron pointed 
leaves; all three terminating in disk-shaped bobéches and cylin- 
drical candle sockets. On tripod base of straight square rods 
with paw feet. 


47° 


Height, 4 feet 9 inches. 
(Illustrated) 


MISCELLANEOUS OBJECTS 


69—SIXTEENTH CENTURY VENETIAN Brap NECKLACE | 

_ Formed of round beads of Venetian gold glass enriched with 

- bands of ruby and emerald-colored jewels, and with a pendant 

formed as a cross of similar beads, having a cut jewel of ruby- 
colored glass at the intersection of the arms. 


(O- 


70—P air or SIXTEENTH CENTURY IraLIAN Lapy’s GLoves 
Mitten-shaped, with pointed backs. -Of black velvet embroid- 
Ty ace ered in gold and eee with floral sprays and finished with 
gold lace. 
Length, 11 inches. 


89 


L9 


89 


oO 


reir 
any 
y 


First Afternoon 


71—Pair oF EIGHTEENTH CENTURY FLORENTINE Pistort HOLSTERS 


om oe Spade-shaped. Of red velvet heavily embroidered in gold with 
a design of masks, cornucopie and acanthus leaves. Leather 


pistol pockets. 
Length, 1 foot 8 inches; width, 1 foot 8 inches. 


72—EIGHTEENTH CENTURY ITALIAN EMBROIDERED BOOKBINDING 


Thick small folio, bound in contemporary boards, covered, on 
both sides, with red velvet embroidered in gold, silver and colored 7 
silks with a strapwork design having floriated ornaments at the 
s0- angles and, in the center, an oval medallion enclosing, on the 
“ front, the monogram “C.A.R.” surmounted by a cross, and on 
the back a three-quarter-length figure of a bishop carrying a 
crozier. ‘The borders are of a scrolled trefoil pattern and the 
back is embroidered with panels of similar design. ‘The volume 
is the “Missale” Cartusiensis, Ordinis Exxordinatione Capitali 
generalis. Anno Domini M. D.C. C. VI.” Has finely engraved 
title page (two clerics at their devotions), other full-page en- 
gravings, numerous finely engraved initial letters, musical no- 
tations and the leaf at the end: “Missa Propria Sancti Januarii 
Episcopi et Martyris.” Lugduni (Paris) Ex Typographia 
Petri Valfray 1713. 
- Height, 11 inches; width, 8 inches. 


First Afternoon 


Jaen? ca fi 
73— SIXTEENTH CENTURY VENETIAN SMALL CASKET & oe 


Rectangular shape, with hinged domed lid. Covered with 
aie Italian petit-point embroidery in colored silks with a pattern of 
} acanthus scrolls, flowers, birds and butterflies, secured with 
brass-headed nails. On four wooden carved and gilded cou- 
chant-lion feet. 


Height, 12 inches; length, 16 inches; width, 81% inches. 


74—SEVENTEENTH CENTURY VENETIAN EMBROIDERED Book Brnp- 
ING ics LTE 
Contemporary boards, covered with blue silk embroidered in 
PQ colored silks, with coats-of-arms on both sides surmounted by a 
Bishop’s Hat and surrounded by a scrolled and floral border 
embroidered in silver. 


75—EIGHTEENTH CENTURY ITALIAN HANDBAG Ga he foterrnty aa 


Leaf-shaped. Of green silk embroidered in gold and colored 7 
| silks with escutcheons occupied by a coat-of-arms and a mono- 
gram and surmounted by coronets. Finished with gold lace, silk 
cord and gold and silken tassel. 
Length, 7 inches; width, 51% inches. 


First Afternoon 


76—PairR OF SIXTEENTH CENTURY ITALIAN GLOVES 


Woven, with fingers, of purple silk. The backs embroidered, 
in gold, with circular medallions enclosing the Sacred Mono- 
gram surrounded by rays. The cuffs bordered with bands of 


gold embroidery in a scrolled design. 
Length, 114% inches. 


CUSHIONS OF THE SIXTEENTH, SEVENTEENTH AND 
: EIGHTEENTH CENTURIES 


77—PaiR OF SEVENTEENTH CENTURS FLORENTINE SMALL SATIN 
CUSHIONS 


Square shape. Of red satin embroidered in gold and silver 
thread with a fleur-de-lis border. Finished with gold and silk 
pendants. 

Length, 7 inches; width, '7 ches. 


78—PairR OF SIXTEENTH CENTURY ITALIAN SMALL VELVET 
CUSHIONS 
Rectangular shape. Of red velvet embroidered, in gold thread 
and colored silks, with medallion centers and scrolled borders. 


Height, 81% inches; width, 64 wmches. 


79—SIXTEENTH CENTURY ITALIAN SMALL VELVET CUSHION 
Rectangular shape. Of red velvet embroidered in gold thread 
and colored silks with a scrolled border. 


Height, 51% inches; width, 634 inches. 


80—SeEr or Four SEVENTEENTH CENTURY ITALIAN VELVET CuSH- 
IONS 

Rectangular shape. Covered with red velvet, with borders of 

gold and silver braid and tassels of colored silk and gold thread. 


Length, 1 foot 1114 inches; width, 1 foot 4 inches. 


First Afternoon 


81—Pair oF SEVENTEENTH CENTURY FLORENTINE SATIN CUSH- 


IONS 
a Bose , Rectangular shape. Covered with red satin embroidered in gold 
and silver with diapered pattern of floral sprays. 


Length, 1 foot 8 inches; width, 1 foot 2 inches. 


O. Parrmut AaZ, 


82—Parir oF SIXTEENTH CENTURY FLORENTINE CUSHIONS 


Rectangular shape. Covered with red satin embroidered, in 
qo” _ gold, at the angles with scrolled designs, and in the centers with 
| coat-of-arms surmounted by crests and mottoes. 


Length, 1 foot 8 inches; width, 1 foot 2 inches. 


Po Ff Ant, priy 0 


88—Pair oF EIGHTEENTH CENTURY ITALIAN SILK CUSHIONS 
Rectangular shape. Of vellow silk with appliqué decoration in 


y light blue silk of a scrolled and floral patterning surrounding a 
{ a central light-petaled floral medallion. All outlined with blue 
silk cord. 


Length, 1 foot 984 inches; width, 1 foot 5 inches. 


First Afternoon | \ 


Y Ce pae ‘ 
84— Parr oF SEVENTEENTH CENTURY FLORENTINE SATIN CUSHIONS 


Rectangular shape. Covered in red satin embroidered in gold 
ne thread and colored silk with an all-over pattern of scrolls, cor- 
72 nucopiz and flowers and with the coat-of-arms of the Gondi 
family in the center. Surrounded by a scrolled border and 

finished with gold and silk tassels. 


Height, 22 inches; width, 18°4 inches. 


4 cag 
a A. Lhe Gatuny - 
85—Pair oF SEVENTEENTH CENTURY ITALIAN SATIN CUSHIONS 


ie Rectangular shape. Covered in green satin decorated with gold 

6 and silver thread embroidery. Finished with green silk fringe 
and tassels. 

Length, 19% inches; width, 14% inches. 


First Afternoon 
7 Ee a. Ez: ES a : 
86—SEVENTEENTH CENTURY ITALIAN CUT-VELVET CUSHION 


Rectangular shape. Covered in green velvet cut with diapered 
40° pattern and having circular rosettes of gold braid at the corners. 
Bordered with gold braid. 


Length, 2214 inches; width, 1734 inches. 
Ftut-er - 1 chen doe 
87—-SEVENTEENTH CENTURY FLORENTINE SATIN CUSHION 
Rectangular shape. Covered in red satin, decorated in the 
center with the Medici coat-of-arms, surmounted by a Royal 
yo Crown and surrounded by a scrolled and floral border, all em- 
broidered in gold, silver and colored silks. Finished with gold 
and silk tassels. 
Length, 2214 inches; width, 18%4 inches. 


ae ge! ar 


88—PairR OF SIXTEENTH CENTURY FLORENTINE SATIN CUSHIONS 


Rectangular shape. Covered with red satin semé with scrolls 
- embroidered in gold and with coats-of-arms in the centers sur- 

mounted by Bishop’s Hats embroidered in green silk. Sur- 

rounded by a border of floral scrolls embroidered in gold. 


89—Pair oF SEVENTEENTH CENTURY ITALIAN VELVET CUSHIONS 


Eo ©: 


Rectangular shape. Covered with red velvet. 


Length, 5 feet 6 inches; width, 1 foot 9 inches. 


90—Four SEVENTEENTH CENTURY ITALIAN ‘TOWELS 
se - Rectangular towels of white linen with knotted linen fringes. 

| ae 
/ppipo Clndrteno. 
91— SIXTEENTH CENTURY FLORENTINE EMBROIDERED LINEN 
9° - TABLE COVER | 

92-_SEVENTEENTH CENTURY ITALIAN LINEN VEIL 

Square shape. Of fine white linen embroidered in colored silks. 


om 


0 
/ Length, 3 feet; width, 3 feet. 


First Afternoon 
line. oP. <L. Vechten 

93-—-SEVENTEENTH CENTURY ITALIAN EMBROIDERED LINEN PANEL 

Rectangular shape. Of white linen divided into three panels by 

four stripes embroidered in gold and colored silks with a pat- 

fae tern of floral scrolls, the center panel being embroidered with a 

diapered pattern of floral sprays. Surrounded by a border 
embroidered with a pattern of floral scrolling. : 


Length, 6 feet 1084 inches; width, 1 foot 534 wmches. 
(Illustrated) 


Fine A. Loree 
94—SEVENTEENTH CrenTURY ITALIAN EMBROIDERED LINEN STRIP 
Strip of white linen embroidered in gold thread and colored 
silks in a pattern of scrolls and leaves and with a scalloped 
i] = horder, 
pf? Length, 12 feet 24% inches; depth, 484 inches. 
_ (Illustrated) 


95—SEVENTEENTH CENTURY ITALIAN EMBROIDERED LINEN STRIP Bee 
White linen embroidered in gold thread and colored silks with a 
scrolled and floral patterning. The edge scalloped and finished 

Z Oo with linen lace. 
Length, 11 feet 934 inches; depth, 5 inches. 


(Illustrated) 
96— SEVENTEENTH CENTURY UmpriAN ALTAR CLOTH 9/ Benguet 
Rectangular shape. Of white linen embroidered in blue silk 
Bs O- with a border of conventional floral sprays and edged with { 


linen lace. 
Length, 17 feet 7 ches; width, 2 feet 8 inches. 


97—SIXTEENTH CENTURY ITALIAN LiInEN BEDSPREAD 


y Rectangular shape. Of white linen open and drawn work fin- 
oh S- ished with raised needlework patterning.. In a diapered design 
of diamond-shaped medallions. 


Length, 6 feet 10 inches; width, 6 feet 4 inches. 


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AAS —H6 
TANV NANT Cava dad Ova wy NVIIVIT AWNING) ALINGALINAADTS—€6 


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First Afternoon 


98—SEVENTEENTH CENTURY VENETIAN Lapy’s LINEN APRON &% 


Rectangular shape. Of exceptionally fine white linen. Wihith 
_§ G_ fine vertical bands of inserted cut work in a floral meander pat- 


tern embroidered with gold and spangles and bordered with 
scallops of cut work embroidered in gold and spangles. 


Length, 3 feet 724 inches; width, 3 feet. 


99—SEVENTEENTH CrentTurY Tuscan Linen SHADE ADAM PR 6 


kale Rectangular shape. Of white linen embroidered in a scrolled 
and floral pattern with gold thread and colored silks. 


Length, 3 feet 4 inches; width, 2 feet. 


EMBROIDERED HERALDIC ESCUTCHEONS 


It was a necessity in the Middle Ages for the leaders in warfare 
to display conspicuously their armorial bearings, and even in times 
of peace the coat-of-arms was almost as needful in order to distin- 
guish the well-born from those of lower degree. 

Italy of the Renaissance being an aggregation of not only war- 
like*but essentially aristocratic communities, it followed that the coats- 
of-arms of the noble families assumed an importance which was to be 
paralleled in no other country of Europe. Hence it is that these em- 
broidered heraldic escutcheons, of which Professor Volpi has brought 
together so significant a collection, are typical, in a high degree, of the 
military, the ecclesiastical and the social life of the period to which 
they belong. At the same time, they are surprisingly indicative of 
the underlying artistic spirit of the entire Renaissance. Primarily 
intended for the useful purpose of readily identifying the owners of 
the hangings or trappings on which they were applied, their ultimate 
destination was merely a means to an end with the Italian craftsman. 
He surrounded, therefore, the coat-of-arms with an elaborate escut- 
cheon of pierced and appliqué embroidery, thus making, out of what 
would otherwise have been purely utilitarian, a real work of art. 

The modern decorative value of these lordly escutcheons has long 
ago been amply recognized by American collectors, who have eagerly 
acquired them for use as centers of screens, enrichments of lambre- 
quins and so forth, but I do not think that any more interesting col- 
lection than this of Professor Volpi’s has yet been offered to them. 


Je lod be 


First Afternoon 


100—Two Parr EicHTEENTH CENTURY ITALIAN EMBROIDERED 
yy. ee ae EsscUTCHEONS Dye. &. By, AS, 
Of the eighteenth century, embroidered in gold and colored / 
silks with coats-of-arms of a bend inscribed “S. P. Q. R.” and 
surmounted by coronets. Mounted on silk damask. 


Heights, 514 inches; widths, 334 inches. 


101—Two SEVENTEENTH CENTURY EMBROIDERED EsSCUTCHEONS 


/(a) Oval-shaped, embroidered in colored silks, with coat-of- 
' arms and surmounted by a isnieirae helmet. _ Mounted on silk 


damask. JX, 
Height, 41% inches; @oidth, 24./Anches. 


mrt 
‘ “a (B) Shield-shaped, scrolled, embroidered in sivas and colored 
_ silks, with a coat-of-arms and surmounted by a scrolled label. 


\iMountcd on silk damask. 
Height, 414 inches; width, 414 inches. 


102—S1x IraLtian Empromerep EscurcHEONS 
/ (A) Pair of quatrefoil-shaped scrolled escutcheons displayed 
on two-headed eagles embroidered in gold, silver and colored 
silks with coats-of-arms and surmounted by royal crowns. Of 
the eighteenth century. Mounted on red velvet. 


Heights, 6 inches; widths, 5% winches. 


Pa) (B) Pair of quatrefoil-shaped scrolled escutcheons, embroid- 7% @ 
A/=— ered in gold and silver with coats-of-arms of displayed eagles 
and crowns, and surmounted by balls. Of the seventeenth cen- 
tury. Mounted on red velvet. : 

Heights, 6 inches; widths, 5 imches. 


(c) Pair of oval escutcheons displayed on two-headed eagles 
embroidered in gold and colored silks, with the arms of the 
Borghese family and surmounted by Ducal coronets. Seven- 
eenth century. Mounted on silk damask. 


Heights, 6 inches; widths, 514 inches. 


First Afternoon 


103—Two SEVENTEENTH CENTURY ITALIAN EMBROIDERED Es- 
CUTCHEONS (ire 

eg saShield-shaped, embroidered in gold, silver and colored silks, 

with coat-of-arms and surmounted by a Bishop’s Hat with 


raised silk tassels. 
Heights, 6 inches; widths, 5 wmches. 


104—THREE IraniAN EmpromrreD EscuTrcHEONS 

(A) Shield-shaped, with drapery mantling embroidered in sil- 
/~—| ver and colored silks with coat-of-arms displayed on eagle and 
surmounted by a royal crown. Of the sixteenth century. 


Mounted on silk damask. fF, 
| Height, 534 inches; width, 434 inches. 


(B) Shield-shaped, mantled with ermine and embroidered in 
gold and colored silks, with two coats-of-arms of the Medici 
and Borghese families and surmounted by a royal crown. Of 
the eighteenth century. Mounted on silk damask. 

Height, 5°84 wmches; width, 5 inches. 
(c) Shield-shaped, acanthus-leaf scrolled, embroidered in gold 
and colored silks, with coat-of-arms and surmounted by a tre- 
foiled floriation. Of the seventeenth century. Mounted on 


velvet. 
Height, 51% inches; width, 5 wches. 


105—Turre Iranian EmpromwrEreD EscuTCHEONS 
(A) Double pear-shaped, scrolled, embroidered in gold, silver 
and colored silks, with coats-of-arms and surmounted by an 
Abbot’s Hat with raised silk tassels. Of the sixteenth century. 


Mounted on silk damask. Bier tro2e 
Height, 534 inches; width, 484 inches. 
7) (p) Oval, acanthus-leaf scrolled, embroidered in colored silks, 


with the arms of the Medici family. Of the sixteenth century. 
Mounted on silk damask. 

Height, 51% inches; width, 414 inches. 
(c) Oval-shaped, scrolled, embroidered in gold and colored 
silks, with coat-of-arms. Of the seventeenth century. Mounted 


on red velvet. 
Height, 51% inches; width, 41 inches. 


First Afternoon 


106—THREE I[raLiAN EMBROIDERED EscUTCHEONS 
(A) Shield-shaped, scrolled and voluted, embroidered in gold, 
silver and colored silks, with coat-of-arms and surmounted by a 
plumed helmet with acanthus-leaf mantlings. Of the sixteenth 
century. Mounted on silk damask. 


Height, 51% inches; width, 5 wmches. 


| ie 
a Yo 5D (B) Pear-shaped, acanthus-leaf scrolled, embroidered in gold 
and colored silks, with coat-of-arms and surmounted by a coro- 
net. Of the seventeenth century. Mounted on silk damask. 


Height, 614 inches; width, 314 inches. 


(c) Shield-shaped, voluted and acanthus-leaf bordered, em- 
broidered in gold and colored silks, with coat-of-arms and sur- 
mounted by a Ducal coronet. Of the eighteenth century. 


Mounted on silk damask. 
Height, 684 inches; width, 44% wches. 


107—Turee [ratian EmpBromerReD EscutTcHEONS 

/ (A) Shield-shaped, scrolled, surrounded by acanthus-leaf aeole 
ings, embroidered in silver and colored silks and surmounted by 
a scrolled label. Of the seventeenth century. Mounted on silk 
damask. 


y ca Height, 6 inches; width, 5 ‘inches. 
(B) Shield-shaped, voluted and scrolled, embroidered in gold 
and colored silks, with coat-of-arms. Of the sixteenth century. 
Mounted on silk damask. 

Height, 6°4 inches; width, 514 inches. 


(c) Shield-shaped, voluted and acanthus-leaf scrolled, em- 
broidered in gold and colored silks and surmounted by a coronet. 
f the sixteenth century. Mounted on silk damask. 


Height, 634 inches; width, 424 inches. 


First Afternoon 


108—Four Iratian Empromeren EscuTcHEons 

(A) Shield-shaped, scrolled and voluted, embroidered in gold 
and colored silks, with a coat-of-arms and surmounted by a 
Bishop’s Hat with raised silk tassels. Mounted on velvet. 


Height, 644 inches; width, 6 imches. 


(B) Shield-shaped, pierced acanthus-leaf scrolled and voluted, 
embroidered in gold and silver, with coat-of-arms and _ sur- 
mounted and surrounded by looped ribbonings. Seventeenth 


century. Mounted on silk damask. O CO orneat Oe 


Height, 61 inches; width, 61 mches. 


ap 


(c) Oval, acanthus-leaf scrolled, embroidered in gold and col- 
ored silks, with coat-of-arms of the Borghese family and sur- 
mounted by a coronet. Seventeenth century. Mounted on red 


velvet._, 
Height, 634 inches; width, 41% imches. 


(p) Scrolled and voluted, pear-shaped, embroidered in gold 
and silver. Coat-of-arms of the Medici family and surmounted 
y a Ducal coronet. Of the seventeenth century. Mounted on 


silk damask. 
Height, 614 inches; width, 5 mches. 


109—Two Iratian EmproipERED EscuTCHEONS 
(a) Shield-shaped, embroidered in gold and colored silks, with 
a coat-of-arms and surmounted by a Cardinal’s Hat with looped 
cord and embroidered tassels. Of the eighteenth century. 


Mounted on silk damask. of Fn ay eee 
A §- Height, 684 inches; width, 6 inches. 


(s) Scrolled pear-shaped, embroidered in gold and colored 
silks, with a coat-of-arms and surmounted by a Bishop’s Hat 
with embroidered tassels. Of the eighteenth century. Mounted 


on old silk damask. 
Height, 61% inches; width, 616 inches. 


First Afternoon 


110—Two Parr Iranian Empromerep EscurcHEONs | 
(a) Shield-shaped, acanthus-leaf scrolled and voluted escut- : 
cheons, embroidered in gold and colored silks. With coats-of- 
arms and surmounted by a Bishop’s Hat with embroidered tas- 
sels. Of the eighteenth century. 


5b- Height, 71 inches; width, 6 inéhes. 


(B) Shield-shaped, acanthus-leaf scrolled escutcheons, embroid- 
ered in silver and colored silks, with coats-of-arms and sur- 
mounted by coronets above which are a Bishop’s Hat with 
embroidered tassels. Of the eighteenth century. Mounted on 
sulk damask. | 

Height, 7 inches; width, 6 inches. 


111—Two Pair or ITALIAN EMBROIDERED EscUTCHEONS | 


(A) Pair of shield-shaped, scrolled and voluted escutcheons, 
embroidered in colored silks, with interlacing stems of trefoil 
leaves and ears of wheat. Of the sixteenth Oe Mounted > 


on silk damask. OG - 
Medi 7 | Height, 71% inches; width, 61 inches. Mc 


(B) Pair of shaped scrolled escutcheons, embroidered in col- 
ored silks with similar coats-of-arms and surmounted by helmets 
and acanthus-leaf mantlings. Of the sixteenth century. 
Mounted on silk damask. : 

Height, 724 inches; width, 6 inches. 


112—T'wo Parr ITaAtIAN EMBROIDERED ESCUTCHEONS 


/ (A) Pear-shaped, scrolled and shelled, embroidered in gold and 
| colored silks, with coat-of-arms of the Borghese family and 

| surmounted by a Bishop’s Hat with raised silk tassels. Of the 
20 | sixteenth century. Mounted on silk damask. (Sm : 

1 Height, 7 inches; Bes, 514 wmches. 
(B) Pair of escutcheons, each with two oval coats-of-arms, 
framed by crossed branches of palm and surmounted by Ducal 
coronets embroidered in silver and colored silks. Kighteenth 
entury. Mounted on silk damask. 


Height, 634 inches; width, 614 inches. 


First Afternoon 


1183—Two Par Iranian EmpromrErep EscutrcHEoNs 
(A) Pair of shield-shaped, scrolled and voluted escutcheons, 
embroidered in gold and colored silks, one with a heraldic de- 
vice of a tree with the monogram A.M. and surmounted by 
coronets. Mounted on velvet. Of the eighteenth century. As, 


7 # Ahirret ae 
Height, 714 inches; width, 534 inches. 


(B) Pair of shield-shaped, scrolled and voluted escutcheons, em- 
broidered in gold and colored silks, with coats-of-arms and sur- 
mounted by a Bishop’s Hat with raised silk tassels. Of the 

ighteenth century. Mounted on silk. 
Height, 7 inches; width, 614 inches. 


114—Two Parr Iratian EmproinerED EscuTCHEONS 
(A) Pair of shield-shaped acanthus-leaf scrolled escutcheons, 
embroidered in gold and silver, with similar coats-of-arms and 
surmounted by a Bishop’s Hat with raised silk tassels. Of the 


eighteenth century. Mounted on silk damask. O Bowl age. 
) Height, 734 inches; width, 714 wches. 


(B) Pair of shield-shaped acanthus-leaf scrolled escutcheons, 
embroidered in gold and silver, with similar coats-of-arms and 
surmounted by a Bishop’s Hat with raised silk tassels. Of the 
ighteenth century. Mounted on silk damask. 

Height, 734 inches; width, 714 inches. 


115—TuHReEE ITatiAN EMBROIDERED EscUTCHEONS 
(A) Shield-shaped, acanthus-leaf scrolled and voluted, em- 
broidered in gold and blue silk, with coat-of-arms, surmounted 
by a ribbon with Latin motto and surmounted by looped ribbon- 


ings. Of the seventeenth century. Mounted on ee. 
Height, 7 inches; width, Mek GE ag <- 


£0 (sp) Pear-shaped, scrolled, embroidered in gold and silver, with 
ah coat-of-arms, surmounted by a trefoiled coronet and displayed 
on cross with forked arms. Of the seventeenth century. 


Mounted on red velvet. Height, 7 inches; width, 5 inches. 
(c) Shield-shaped, scrolled, embroidered in gold and colored 
silks, with coat-of-arms. Of the seventeenth century. Mounted 


n silk damask. Height, 71% inches; width, 41% inches. 


First Afternoon 


116—THrReEE [TaALIAN EMBROIDERED ESCUTCHEONS 
(a) Oval-shaped, scrolled, embroidered in colored silks with 
coat-of-arms and surmounted by a coronet. Of the sixteenth 
century. Mounted on silk damask. 


Height, 7 inches; width, 4% mches. 


/S- (B) Pear-shaped, acanthus-leaf scrolled and voluted, embroid- 
ered in gold and surmounted by a Ducal coronet. Mounted on 
silk damask. : 

Height, 734 inches; width, 5 mches. 


(c) Shield-shaped, scrolled and voluted, embroidered in gold 
and silver, with coat-of-arms. Of the seventeenth century. 
Mounted on silk damask. | 
Height, 7 inches; width, 4% inches. 


117—Two Parr ITALIAN EMBROIDERED ESCUTCHEONS 


(a) Pair of shield-shaped scrolled escutcheons, embroidered in 
gold, silver and colored silks, with coats-of-arms and surmounted 
by a Bishop’s Hat with raised silken tassels. Of the seven- 
teenth century. Mounted on velvet. | 


Height, 734 inches; width, 71/, inches. 


(B) Pair of shield-shaped scrolled escutcheons, embroidered in 
gold, silver and colored silks, with coats-of-arms and _sur- 
mounted by a Bishop’s Hat with raised tassels of silk. Of the 
seventeenth century. Mounted on silk damask. 


Height, 724 inches; width, 714 inches. 


118—T'wo Irat1an EmpromwerrED EscuTcHEOoNsS 
(A) Shield-shaped, scrolled, surrounded by looped ribbonings, 
/ with emblem of St. Francis of Assisi and surmounted by a 
' coronet. Of the sixteenth century. Mounted on silk damask. 


of 
/, , Y Height, 744 inches; width, fe es. 


| (B) Shield-shaped, scrolled, embroidered in gold and colored 
ea with coat-of-arms and surmounted by a Bishop’s Hat with 
aised silk tassels. Of the seventeenth century. Mounted on 

silk. 
Height, 714 inches; width, 61% inches. 


First Afternoon 


119—Four ITALIAN EMBROIDERED EscuTrcHEONS 


DS 


A) Shield-shaped, acanthus-leaf scrolled, embroidered in col- 
ored silks, diagonal band inscribed “S. P. Q. R.” and sur- 
mounted by a Ducal coronet. Of the seventeenth century. 


Height, 734 inches; width, 5 inches. 


(B) Shield-shaped, acanthus-leaf scrolled, embroidered in gold 
and colored silks, with coat-of-arms quartered with arms of the 
Gondi family and surmounted by an Eastern crown. Of the 
eighteenth century. Mounted on silk damask. 


Height, 734 inches; width, 5% OU 


(c) Shield-shaped, scrolled, erpe tered in silver and TO 6 cement 


silks, with a coat-of-arms and surmounted by a Count’s coronet. 
Of the seventeenth century. Mounted on silk damask. 


Height, 7 inches; width, 5 inches. 


(p) Shield-shaped, leaf-scrolled, embroidered in gold, silver and 
colored silks, with the coat-of-arms of Castile and surmounted 
by a Royal crown. Of the eighteenth century. Mounted on 


silk damask. 
Height, 9 inches; width, 614 inches. 


120—THREE ITALIAN EMBROIDERED ESCUTCHEONS 


J 7 E4 


A) Shield-shaped, scrolled, embroidered in gold and colored 
silks, with coat-of-arms and surmounted by a Ducal coronet. 
Of the eighteenth century. Mounted on silk. 


Height, 7 inches; width, 5 inches. 
(sp) Shield-shaped, scrolled, embroidered in gold and colored 


silks with a coat-of-arms and surmounted by a Bishop’s Hat 
with raised silk tassels. Of the sixteenth century. 


Height, 7 nee width, Pape. 


(c) Shield-shaped, scrolled and voluted, embroidered in col- 
ored silks, with coat-of-arms and surmounted by coronet. 
Of the eighteenth century. Mounted on silk damask. 


Height, 7 inches; width, 514, inches. 


PEe 


First Afternoon 


121—Turee IrariaN EmBromerEeD EscuTCHEONS 

(a) Oval, scrolled, voluted, in appliqué embroidery of colored 
silks outlined in gold cord. Painted with figure of the Virgin 
and Child Christ. Of the eighteenth century. Mounted on 
silk. | 


Height, 71 hes width, 6 once 
ig V4. inches; 1 


(B) Pear-shaped, scrolled, embroidered in cyigfed silks, with 
coat-of-arms, and surmounted by an Eastern crown with forked 
label below. Of the seventeenth century. Mounted on silk 


damask. 
Height, 7% inches; width, 64 inches. 


(c) Shield-shaped, scrolled, embroidered in colored silks, with 
e heraldic device of a star and surmounted by a Bishop’s Hat 
with embroidered tassels. Of the sixteenth century. 


Height, 7 inches; width, 646 inches. 


122—THREE [TaALIAN EMBROIDERED EscuTCHEONS 
(’ Shield-shaped, scrolled and voluted, embroidered in Baia 
| silver and colored silks on crossed crozier and banners, with 
| coats-of-arms and surmounted by an Archbishop’s mitre. Of 
| the sixteenth century. Mounted on silk brocade. 


Height, 7 inches; width, 6 mches. 


(B) Oval, acanthus-leaf scrolled, embroidered in gold and col- 
ored silks, with the coat-of-arms of the Borghese family and 
surmounted by a helmet with acanthus-leaf and raised tassel 
mantlings. Of the seventeenth century. Mounted on silk 
damask. LG: 

Height, 7 inches; width, 61% inches. 


(c) Shield-shaped, acanthus-leaf scrolled and voluted, em- 
broidered in colored silks, with interlaced branches of foliage 
nd surrounded by looped ribbonings. Of the sixteenth cen- 
tury. Mounted on red velvet. 


Height, 71% inches; width, 684 inches. 


First Afternoon 


123—Two Ivauian Emprowerrp EscurcHrons 
(A) Shield-shaped, scrolled, embroidered in gold, with the word 
PAX and a cross, and surmounted by a Bishop’s Hat with em- 
broidered tassels. Of the eighteenth century. ~~ : | 


ya F Height, 74% inches; width, 61% inches. 


(B) Trefoil-shaped, scrolled, embroidered in gold, silver and 
colored silks, with heraldic device and surmounted by a Bishop’s 
at with raised silk tassels. Of the seventeenth century. 

Mounted on silk damask. 
Height, 61% inches; width, 71/4 inches. 


124—THREE ITaLIAN EMBROIDERED EscuTcHEONs 
A) Oval, scrolled, embroidered in gold and colored silks, with 
eo ae and surmounted by a Bishop’s Hat with looped 
cords and embroidered tassels. Of the sixteenth century. 


Mounted on silk. Height, 71% inches; width, 7 inches. 
. A 
(B) Quatrefoil-shaped, scrolled, embroidered in gold, silv nd oz Wt V Xbrre 
Dk colored silks, with coat-of-arms and surmounted by a Ducal t 
coronet. Mounted on silk damask. Of the seventeenth cen- 
tury. Height, 714 inches; width, 7 inches. 


(c) Pear-shaped, scrolled with leaves, embroidered in gold, sil- 
ver and colored silks, with coat-of-arms and surmounted by a 
Ducal coronet and acanthus-leaf mantlings. Of the seventeenth 
century. Mounted on silk damask. 


Height, 714 inches; width, 61/4 inches. 


125—Four Iranian EMBROIDERED EscUTCHEONS 
(a) Shield-shaped, scrolled, embroidered in colored silks, with 
coats-of-arms and surmounted by a helmet with acanthus-leatf 
mantling. Of the sixteenth century. Mounted on silk damask. 


Lb- | Height, 734, inches; width, 6 inches. 


(pB) Set of three shield-shaped, acanthus-leaf scrolled es- 
cutcheons, embroidered in gold and colored silks, with similar 
coats-of-arms and surmounted by a Bishop’s Hat with raised 
silk tassels. Of the eighteenth century. Mounted on silk 


damask. Height, 714 inches; width, 614 inches. 


First Afternoon 


126—F our EmpBromwerRED EscUTCHEONS 
Set of four shield-shaped, acanthus-leaf scrolled and volu 
Spanish escutcheons, embroidered in gold, silver and colored 

A O- silks, with coats-of-arms surrounded by name of Count Fred- 
erick Hermost and surmounted by Ducal coronets. Seven- 
teenth century. Mounted on silk damask. 

Height, 10 inches; width, 7 mches. 


127—Srtr or THreE IraLian EMBROIDERED EsSCUTCHEONS CF Haze 
sO Shield-shaped, scrolled and voluted, on forked crosses embroid- 
/ / ~~ ered in silver and colored silks, with similar coats-of-arms and 
surmounted by shell ornamentation. Of the eighteenth century. 


Mounted on velvet and silk damask. 
Height, 8 inches; width, 6 inches. 


128—Two Parr I[ratian EMBROIDERED ESCUTCHEONS 
((a) Pair of shield-shaped, acanthus-leaf, scrolled and voluted 
escutcheons of the eighteenth century, embroidered in colored 
silks, with similar coats-of-arms, surmounted by processional 
crosses, croziers and Archbishops’ mitres and with crossed 
abet oe) branches of laurel and labels below. Mounted on silk damask. 


Height, 914 inches; width, 2%4 inches. 


| (B) Pair of shield-shaped, acanthus-leaf scrolled ane ree | 


/ escutcheons of the eighteenth century, embroidered in colored 
\ silks, with similar coats-of-arms, surmounted by processional 
* crosses, croziers and Archbishops’ mitres and with crossed 
“branches of laurel and labels below. Mounted on silk damask. 


Height, 914 inches; width, 234 inches. 


First Afternoon 


129-—-Patrr EIGHTeentH CrEntTury ITALIAN EmprormperREp Es- 


CUTCHEONS OL ‘ : 
ie 4— Scrolled shield-shaped, embroidered in gold and colored silo 
with similar coats-of-arms of five stars, and surmounted by 
Bishop’s Hats with raised silk tassels. Of the eighteenth cen- 


tury. Mounted on silk damask. 
Height, 914 inches; width, 834 inches. 


130—Serr or ‘THREE SPANISH EscuTCHEONS a 
Shield-shaped, pierced and scrolled, embrordéred in colored 


0 silks with coats-of-arms of the Borghese family, surmounted by 
_ Papal tiaras, crossed Keys and looped ribbons and with em- 
broidered tassels below. Of the eighteenth century. ‘Two 
mounted on red velvet and on silk damask. 


Height, 834 inches; width, 684 inches. 


131—Turere [rattan EmpBrorpERED EscuTcHEONS [> Pe, 
(A) Shield-shaped escutcheon of the sixteenth c¢ ry, em- 
broidered in silver and colored silks, with coat-of-arms. Mounted 
on silk damask. Height, 8% inches; width, 6 inches. 


'(B) Shield-shaped, scrolled and voluted escutcheon of the 
‘seventeenth century, embroidered in colored silks, with coat-of- 
/ $4 arms and surmounted by a Ducal coronet. Mounted on silk 


damask. Height, 8 inches; width, 61% inches. 


(c) Shield-shaped, pierced and acanthus-leaf scrolled es- 
cutcheon of the eighteenth century, embroidered in colored 
silks, with coat-of-arms, surmounted by an Eastern cross and 
bordered with looped ribbonings. Mounted on silk damask. 


Height, 8 inches; width, 614 inches. 


First Afternoon 


132—Parr or [raLIAN EMBROIDERED ESCUTCHEONS “Js 


Pear-shaped, scrolled, embroidered in gold, silver apf¥ colored 

ee — silks, with similar coats-of-arms, surmounted by Ducal coronets 

and resting on military trophies with crossed standards. Of the 
eighteenth century. Mounted on silk damask. 

Height, 9 inches; width, 84% inches. 


1383—Two Parr ITALIAN EMBROIDERED EScUTCHEONS 


(A) Pairs of shield-shaped, acanthus-leaf scrolled escutcheons, 
embroidered in gold and colored silks, with coats-of-arms, sur- 
mounted by coronets and surrounded by looped ribbonings. Of 


the seventeenth century. Mounted on silk damask. a q 
mes Q Height, 9 inches; width, 6 inches. 


(B) Pair of shield-shaped escutcheons, bordered with acanthus 
leaves and cherubim embroidered in gold and colored silks, with 
similar coats-of-arms and surmounted by Bishop’s Hats with 
raised silk tassels. Of the sixteenth century. Mounted on silk. 


Height, 8 inches; width, 7 inches. 


134—THREE [TaL1AN EMBROIDERED EscUTCHEONS 
((a) Pair of shield-shaped acanthus-leaf scrolled and voluted 
'escutcheons, embroidered in gold and colored silks, with coats- 
of-arms and surmounted by Ducal coronets. Of the sixteenth 


century. Mounted on silk. O Sbrn0e ct. 
Z0- v4 Height, 10 inches; width, 9 inches 


| (B) Shield-shaped, embroidered in gold, silver and colored 
| silks, with coats-of-arms. Displayed on two-headed eagle and 
| surmounted by a Bishop’s Hat with embroidered tassels. Of 
“the eighteenth century. Mounted on silk damask. 


Height, 1014 inches; width, 814 inches. 


First Afternoon 


185—Pair or IratiaN Empromerrep EscurcHrons Pera fe 


Oval-shaped, scrolled, embroidered in silver and colored silks, 
yu #- with coats-of-arms, quartering two-headed eagles and_sur- 
mounted by crosses and a Bishop’s Hat with embroidered tas- 


sels. Of the eighteenth century. 
Height, 10 inches; width, 8 inches. 


136— Parr oF SIXTEENTH CENTURY ITALIAN EMBROIDERED Escut- 


CHEONS . 
Squares of silk embroidered in gold and ates silks aR ae. 
escutcheons of the coats-of-arms of Castile and Aragon quar- 
tered with those of the Medici family, surrounded by borders 
Sb 29 of strapwork and pointed-leaf rosettes, and surmounted by 
Royal crowns. ‘The squares have grounds semé with fleurs-de- 
lis and castles, are bordered with scrolled and pointed leaves, 
and have military trophies at the angles. 


Height, 14 inches; width, 14 inches. 


1387—SEVENTEENTH CENTURY ITALIAN EMBROIDERED ESCUTCHEON ~_ 
3a, Sshield-shaped scrolled escutcheon, embroidered in gold and col- ~ ** 


ored silks with coats-of-arms. 


Height, 20% inches; width, 14% wmches. 


188-——SEVENTEENTH CENTURY ITALIAN EMBROIDERED EscuUTCHEON 


tig £% Shield-shaped scrolled escutcheon, embroidered in gold and col- 


. ° Sa ee 
ored silks with coat-of-arms. Jt Rsze- 
Height, 8 inches; width, 5 inches. 


C3, 


First Afternoon 


139-—Patr oF SIXTEENTH CENTURY EMBROIDERED EscuTCcHEONS 


Cee -shaped scrolled and voluted escutcheons, embroidered 
ee in gold and colored silks, with coats-of-arms of the Colonna 
family and surmounted by Bishop’s Hats with raised silk tas- 

sels. Mounted on silk damask. 
: Height, 151% inches; width, 13 inches. 


140—Two ITALIAN EMBROIDERED EscuTCHEONS ape nas 


(as) Egg-shaped, pierced, scrolled and voluted, int erideeam m 
‘gold and colored silks, with coat-of-arms having quartering of 
| displayed eagle and crown, and surmounted by crowned and 
| crested he!met with acanthus-leaf mantlings. Of the seven- 
aie teenth century. Mounted on silk damask. 
Height, 13 inches; width, 121% inches. 


(2) Oval, acanthus-leaf scrolled, embroidered in gold and col- 
ored silks, with coat-of-arms and surmounted by a Bishop’s Hat 
with raised silk tassels. Of the sixteenth century. Mounted on 
ilk damask. ; 


Height, 14 inches; width, 12% inches. 


141—Parr or Iranian Emprorperep EscurcHEons 2,9, 


Oval-shaped, scrolled, with volutes and shells embroidered in 
As 7 gold, silver and colored silks, with coats-of-arms, and sur- 
mounted by crosses and Cardinals’ Hats with embroidered tas- 

sels. Of the sixteenth century. 
Height, 8 inches; width, 7 imches. 


First Afternoon 


142—Pair oF KIGHTEENTH CENTURY IraLiIAN Empromerep Es- 
CUTCHEONS (ite, 

Pair of pear-shaped acanthus-leaf scrolled esctitcheons of the 

A O- eighteenth century, embroidered in silver and colored silks, 

with coats-of-arms, and surmounted by detached coronets. 


Mounted on velvet. 
ie Height, 1014 inches; width, 7 inches. 


143—-Four SEVENTEENTH CENTURY ITaLIAN Empromerep Escur- 
CHEONS 

(A) Pair of shield-shaped scrolled escutcheons, embroidered in 

' gold and colored silks, with two oval-shaped coats-of-arms, hav- 

_ing crown above, pendent keys at sides, and surmounted by an 

_| Eastern crown with canopied drapery mantlings. Of the 

| seventeenth century. Mounted on velvet, finished with gold 


Se WR ObOC: Bh, K aed 
5 Height, 111% inches; width, 9 wnches. 
Ha (B) Oval medallion within a shield-shaped rococo-scrolled es- 

cutcheon, embroidered in gold and colored silks, with coat-of- 
' arms. Of the seventeenth century. Mounted on silk damask. 


Height, 12 inches; width, 914 wmches. 


(c) Shield-shaped, acanthus-leaf scrolled and voluted, embroid- 
ered in gold and colored silks, with the coat-of-arms of 
he Arnolfi family and surmounted by looped ribbonings. Of 
the seventeenth century. Mounted on silk damask. 

Height, 101% inches; width, 11 inches. 


First Afternoon 


~¥ 
a 


144—SEVENTEENTH CrntTuRY ITALIAN EmprompERED EscUTCHEON — |i 


es 


Shield-shaped acanthus-leaf scrolled voluted and diapered EAC Cree C 

of We cutcheon, with coat-of-arms having upper field in blue velvet 4 

and surmounted by a helmet with acanthus-leaf mantlings. 
Mounted in silk damask. 

: Height, 181% inches; width, 1544 inches. 


145—EIGHTEENTH CENTURY ITALIAN EmpBromEeRED EscuTCHEON 
Heart-shaped scrolled and voluted escutcheon embroidered in 
/ 7 silver and colored silks having floral pendants at the sides, with 
a heraldic device of a floriated cross and surmounted by a 


pointed trefoil-leaf crown. Mounted on silk damask. QyY is 
Height, 22 inches; width, 18 inches. 


First Afternoon 


146—SIXTEENTH CENTURY ITALIAN EmproIpERED EscurcHEoO} 
Shield-shaped scrolled and voluted escutcheon, with aca eee halen. 
leaf corners embroidered in gold and colored silks, with the 
coat-of-arms of the Colonna family and surmounted by a 
Bishop’s Hat with raised silk tassels. Mounted on red velvet. 
| Height, 24 inches; width, 20 inches. 


147—P air or SrxteENTH CentuRY ITALIAN EMBROIDERED VELVET 
CHASUBLE Hoops OO. Kher nt Age. 
: , ° ° 7 
Spade-shaped hoods of red velvet appliqué with shield-shaped ‘ 
a /? 4? escutcheons surrounded by scrolled acanthus leaves, volutes and 
floral pendants embroidered in gold and colored silks, with 


coats-of-arms and surmounted by strawberry-leaf coronets. 
Height, 221% inches; width, 20 inches. 


9 amy 


_ 


First Afternoon 


148—SQUARE OF SIXTEENTH CENTURY ITALIAN VELVET WITH Em- 
LO 


BROIDERED EscuTCHEON oP 
Squares of red velvet patterned with a inthe 
scrollings in silk cord and embroidered in the center with a 
SG- quatrefoil medallion bordered with silk cord and contaiming a 
shield-shaped escutcheon embroidered in gold and colored silks, 


with a coat-of-arms and surmounted by a Cardinal’s Hat with 
embroidered tassels and a floriated cross. 


Height, 24 inches; width, 24 inches. 


149-—THREE ITALIAN EMBROIDERED EscuTCHEONS 


/(A) Pair of shield-shaped, acanthus-leaf scrolled escutcheons, 
fembroidered in gold and colored silks, with coats-of-arms and 
/surmounted by Bishop’s Hats with raised silk tassels. Of the 
| seventeenth century. Mounted on silk brocatelle. 


cy ”, | Height, 11 inches; width, 9 inches. 
: (OhLMe. 

(B) Shield-shaped, scrolled and diapered, eibroidered in gold 

~ and colored silks, with coat-of-arms and surmounted by a 


Bishop’s Hat with raised silk tassels. Of the seventeenth cen- 
ury. 


Height, 9 inches; width, 10 inches. 


First Afternoon 


150—Parr or EH1GHTEENTH CENTURY EscuTCHEONS 
Oval-shaped scrolled and voluted escutcheons surrounded with 
Q/0 seacanthus-leaf scrollings and with acanthus-leaf pendants. Em- (wy ‘ Seo 
broidered in gold and surmounted with acanthus-leaf crowns. : 


Mounted on red silk damask. 
Height, 3914 inches; width, 29 inches. 


151—T'wo ITALIAN EMBROIDERED EscUTCHEONS 


(A) Shield-shaped, voluted, embroidered in gold and colored 
silks, with coat-of-arms of a displayed eagle and crown, and 
\surmounted by a Papal Tiara, crossed Keys and looped ribbon —~_ _ 
: p p 


: 
} 


ve ots with tasseled pendants. Of the sixteenth century. Mounted on St howe 
| silk damask. Height, 10 inches; width, 71/4 inches. 


} 
(B) Ovolo-shaped, acanthus-leaf scrolled, embroidered in gold 


\and colored silks, with coat-of-arms and surmounted by a Ducal 
coronet. Of the seventeenth century. 
Height, 101% inches; width, 8 inches. 


First Afternoon 


152—Pair OF SEVENTEENTH CENTURY ITALIAN EMBROIDERED Es- 
CUTCHEONS _~2 

Shield-shaped acanthus-leaf scrolled and “oluted escutcheons 

7 2, SYembroidered in gold, silver and colored silks, with coats-of- 

arms and surmounted by Bishops’ Hats with raised silk tassels. 


Mounted on silk damask. 
Height, 17 inches; width, 16 inches. 


153—TureeE [rat1AN EmproiErReD EscuTCcHEONS 
(a) Rectangular shape, shield-shaped, surrounded by scroll- 
j ings and bowed ribbons embroidered in gold and silk with coat- 
, of-arms and surmounted by a Ducal coronet. Of the seven- 
_ teenth century. Banner of silk finished with silk fringe. 


| Height, 1834 inches; width, 101/, inches. 


e. b do) (B) Shield-shaped, scrolled, embroidered in gold and colored 
| silks, with coat-of-arms. Of the seventeenth century. Mounted 
| So | 

on silk damask. SI. AB gi 
Height, 12 inches; width, 10 inches. 


- 


(c) Pear-shaped, acanthus-leaf scrolled and voluted, embroid- 

\ ered in colored silks, with the emblem of St. Francis of Assisi 

nd surmounted by a crown. Of the seventeenth century. 
Mounted on silk damask. 

Height, 13 inches; width, 81% wches. 


First Afternoon 


154—TuREE ITALIAN EmBROWERED EscuTCHEONS 


(A) Shield-shaped, acanthus-leaf scrolled, embroidered in gold 
and colored silks, with coat-of-arms and surmounted by a 
Bishop’s Hat with raised silk tassels. Of the eighteenth cen- 
tury. Mounted on silk damask. 

Height, 10 inches; width, 9 inches. 


(B) Oval-shaped, scrolled and voluted, embroidered in gold, sil- 
ver and colored silks, with the coats-of-arms of the Borghese 
family and surmounted by a helmet with acanthus-leaf mant- 
ling. Of the sixteenth century. Mounted on red velvet. 


Height, 10 inches; width, 10 inches. 


(c) Shield-shaped, scrolled, embroidered in gold and colored 
silks with coats-of-arms and surmounted by a Bishop’s Hat with 
raised silk tassels. Of the eighteenth century. Mounted on 


red velvet. 
| Height, 10 inches; width, 9 inches. 


155—Six E1cHTeEENTH CENTURY ITALIAN EMBROIDERED Escut- 
CHEONS 

(A) Pair of pear-shaped acanthus-leaf scrolled voluted and ro- 

setted escutcheons, embroidered in gold and silver with em- 

broidered Chalices and Patens, surmounted by processional 

crosses with canopies. Of the eighteenth century. Mounted 

on silk damask. 


Height, 8 inches; width, 434 imches. 


(s) Pair of rococo scrolled shield-shaped escutcheons, embroid- 
ered in gold and colored silks with similar coats-of-arms and 
surmounted by helmets and plume mantlings. Of the eighteenth 
century. Mounted on silk damask. 


Height, 84 inches; width, 614 imches. 


(c) Pair of shield-shaped acanthus-leaf scrolled and voluted 
escutcheons, embroidered in colored silks, with coats-of-arms and 
surmounted by a Bishop’s Hat with raised silk tassels. Of the 
eighteenth century. Mounted on silk damask. 

7 


Height, 81% inches; width, 7 inches. 


» ee 


pt Fig fo, 
0 


First Afternoon 


156—THREE ItaLIAN EMBROIDERED EscuTCHEONS 

ha) Serolled shield-shaped, embroidered in gold and colored 
silks, with coats-of-arms and surmounted by a Bishop’s Hat 
with raised silk tassels. Of the seventeenth century. Mounted 
on silk damask. 


Height, 81% inches; width, 94% wches. 


(8) Heart-shaped scrolled escutcheon, with shells and volutes. 
Embroidered in colored silks, with coat-of-arms of Castile, and 
surmounted by a royal crown. Of the seventeenth century. 
Mounted on silk damask. 


[# 


Height, 8 inches; width, One 


(c) Heart-shaped scrolled and voluted escutcheon, embroid- 
ered in gold and colored silks, with a coat-of-arms, and sur- 
mounted by a helmet. Of the seventeenth century. Mounted 


on silk damask. ie 
Height, 914 inches; width, 84% inches. 


157—THREE ITALIAN EMBROIDERED ESCUTCHEONS 
( Of the eighteenth century, embroidered in gold, silver and 
colored silks, with two oval coats-of-arms, flanked by two crossed 
branches of palm and surmounted by a Prince’s crown. 
- Mounted on silk damask. 


1 


Height, 81% inches; width, 71% wmches. 


~ 50 (B) Shield-shaped, acanthus-leaf scrolled, embroidered in col- 
Ad | ored silks, with coat-of-arms and surmounted by a Ducal coro- 
| net. Seventeenth century. Mounted on silk damask. 


Height, 91% mches; width, 7 inches. 

~AcO mn 

(c) Shield-shaped, acanthus-leaf scrolled, embroidere gold. 

and silver, with a coat-of-arms and surmounted by a Bishop’s 

at with raised silk tassels. Of the seventeenth century. 
Mounted on silk damask. 

Height, 7% mches; width, 7 inches. 


First Afternoon 


158—THREE ITALIAN EMBROIDERED EscuUTCHEONS 


A) Shield-shaped, acanthus-leaf scrolled and voluted, embroid- 
ered in silver and colored silks and surmounted by a Papal Tiara 
and crossed Keys and with raised tassels. Of the seventeenth 
century. Mounted on red velvet. 


Height, 74 inches; width, 7 inches. 


et 
(B) Shield-shaped, surrounded with scrolled leaves embroidt C4 
ered in gold and colored silks, with coat-of-arms and surmounted 
by an Eastern crown. Of the sixteenth century. Mounted 


on silk damask. 
Height, 84% wmches; width, 584 inches. 


(c) Shield-shaped, scrolled and voluted, embroidered in gold, 
silver and colored silks, with coat-of-arms and surmounted by 
oriated cross and a Bishop’s Hat with embroidered tassels. 


Seventeenth century. 
Height, 81% inches; width, 6 inches. 


159—THREE ITALIAN EMBROIDERED EsScUTCHEONS 

A) Shield-shaped, acanthus-leaf scrolled, surrounded — by 
looped ribbonings embroidered in gold and colored silks with 
the coat-of-arms of the Colonna family and surmounted by a 
Ducal coronet. Of the eighteenth century. Mounted on silk 


oC =~ —s. 
damask. Lh. KE n We 
Height, 8 inches; width, 6 ae 


(B) Shield-shaped, scrolled, surrounded by looped ribbonings 
embroidered in colored silks, with the coat-of-arms of the Gondi 
family and surrounded by a count’s coronet. Of the seventeenth 
century. Mounted on silk damask. 

Height, 8 inches; width, 6 inches. 


Zb¥ 


(c) Shield-shaped, scrolled, surrounded with bow ribbons, em- 
roidered in gold and colored silks, with coat-of-arms. Of the 
seventeenth century. Mounted on silk damask. 


Height, 8 inches; width, 5% inches. 


First Afternoon 


160—Four SIXTEENTH, SEVENTEENTH AND EKIGHTEENTH CENTURY 
EMBROIDERED EscUTCHEONS 


A) Shield-shaped escutcheon of the sixteenth century, sur- 
rounded by scrolled acanthus leaves and displayed on a forked — 
cross, embroidered in colored silks and surmounted by a plumed 
and crowned helmet. Mounted on silk damask. 

Height, 844 inches; width, 524 imches. 
(B) Scrolled pear-shaped escutcheon of the seventeenth cen- 
tury, embroidered in colored silks with coat-of-arms nS Te 
by a plumed helmet. Mounted on silk damask. aoy 
Height, 81% inches; widt 44, inches. 


35H 


(c) Shield-shaped acanthus-leaf scrolled escutcheon of the 
seventeenth century, embroidered in gold and colored silks, with 
coat-of-arms and surmounted by an Abbot’s Hat. -Mounted on 
silk damask. Height, 8 inches; width, 5 inches. 
(p) Shield-shaped escutcheon, embroidered, of the sixteenth 
century, in colored silks with a coat-of-arms and surmounted by 
a Bishop’s Hat with raised silk tassels. 


Height, 814 inches; width, 714 iches. 


161—THREE SIXTEENTH, SEVENTEENTH AND EIGHTEENTH CENTURY 
ITALIAN EMBROIDERED EscUTCHEONS 


A) Shield-shaped scrolled escutcheon of the seventeenth cen- 
tury, embroidered in gold and silver, with coat-of-arms sur- 
mounted by a Ducal coronet surrounded with looped ribbonings 
and displayed on a cross with forked arms. Mounted on velvet. 


Height, 8 inches; width, 7 inches. ~ Rreoy 
(B) Shield-shaped acanthus-leaf scrolled and voluted escut- 
cheon embroidered in gold and colored silks, with heraldic de- 
vice of crown and surmounted by a Bishop’s Hat with looped 
cords and raised silk tassels. 
Height, 8 inches; width, 7 inches. 
(c) Ovolo-shaped, scrolled, with crossed branches of trefoiled 
leaves embroidered in gold, silver and colored silks, with coat- 
of-arms and surmounted by a Ducal coronet. Mounted on 


silk. Height, 7 inches; width, 64% wmches. 


First Afternoon 


162—F our ITALIAN EMBROIDERED EscuTCHEONS 


(A) Shield-shaped, scrolled, embroidered in colored silks, with 
coat-of-arms and surmounted by a helmet with acanthus-leaf 
mantlings and pendants of silk cord. Of the sixteenth century. 


Height, 714, inches; width, 61% ie Bray ey 


(B) Shield-shaped, scrolled escutcheon of the seventeenth cen- 
tury, surrounded by looped ribbonings embroidered in silver and 
colored silks, with coat-of-arms of the Borghese family. 
Mounted on silk. 


QS 


Height, 8 inches; width, 6 inches. 


(c) Pear-shaped scrolled and voluted escutcheon of the eigh- 
teenth century, embroidered in gold and silver and colored silks, 
ith a coat-of-arms surmounted by an embroidered cross and 
a Bishop’s Hat with embroidered tassels mounted on satin. 


Height, 834 inches; width, 624 inches. 


(p} Shield-shaped scrolled and voluted escutcheon of the six- 
teenth century; embroidered in gold and silver, with coat-of- 
arms, and surmounted by a helmet with acanthus-leaf mantlings. 


Mounted on red velvet. 
| ‘Height, 8 inches; width, 7 imches. 


1683—Turet [rattan EmpromnEerRED EscurcHEONS 
A) Scrolled shield-shaped, embroidered in colored silks with 
a coat-of-arms and surmounted by a Bishop’s Hat with raised 
silk tassels. Of the seventeenth century. 

Height, 91% inches; width, 634 inches. 


(B) Shield-shaped, scrolled, embroidered in gold and colored 
silks, with coat-of-arms and surmounted by a Bishop’s Hat with 
scrolled cord and silk tassels. Of the sixteenth century. Q/ Pe os, a 

Height, 814 inches; width, 84 inches. v6 


pee 


(c) Pear-shaped, scrolled, embroidered in gold and colored 
ilks, with coat-of-arms and surmounted by a Bishop’s Hat with 
[doped cord and raised silk tassels. Of the eighteenth century. 


Height, 61% inches; width, 91% winches. 


First. Afternoon 


164—THREE ITALIAN EMBROIDERED EscUTCHEONS 
(A) Shield-shaped, acanthus-leaf scrolled and voluted, embroid- 
ered in gold, silver and colored silks, with coat-of-arms and sur- 
mounted by a Bishop’s Hat with raised silk tassels. Of the 
seventeenth century. Mounted on red velvet. 


Height, 8 inches; width, 8 inches. 


o— (B) Scrolled shield-shaped, embroidered in gold, silver and col- 
ored silks, with coat-of-arms and surmounted by helmet acan- 
thus-leaf mantlings and Bishop’s Hat with raised silk tassels. 

f the eighteenth century. Mounted on silk. 


Height, 714 inches: width, 9 inches. 


(c) Richly scrolled shield-shaped, embroidered in gold and 
colored silks with a coat-of-arms and surmounted by a coronet. 
Of the seventeenth century. Mounted on silk damask. 


Height, 834 inches; width, 8 inches. 


165—Two Iratian EmproiwereD EscuTCcHEONS 
(A) Scrolled shield-shaped, embroidered in gold and colored 
silks, with coat-of-arms and surmounted by a Ducal coronet. 
Of the seventeenth century. Mounted on silk damask. . 


Bil | Height, 91 inches; width, 71, inches. 
Ad ' Mtr. Oe 
' (B) Shield-shaped, embroidered in gold and colored silks, with/ 


| coat-of-arms, bordered with crossed branches of palm and sur- 
mounted by a Ducal coronet. Of the seventeenth century. 

ounted on silk damask. } 
Height, 9 inches; width, 81, inches. 


166—MatrHEMATICAL INSTRUMENTS OF THE SIXTEENTH, SEVEN- 

TEENTH AND EIGHTEENTH CENTURIES, TO BE SOLD AS A 
CoLLECTION 

Pair of simple reduction compasses. In bronze with steel points. Eigh- 

teenth century Italian. 

Pair of proportional compasses in bronze; inscribed: ‘‘Butterfield Paris.” 

QU res Eighteenth century French. 

Pair of ordinary compasses. In bronze with steel points. Eighteenth 

century Italian. 

Pair of small proportional compasses. By Butterfield of Paris. Eigh- 

teenth century French. 


First Afternoon 


[No. 166—Continued | 


Pair of proportional compasses. In bronze. Eighteenth century Ital- 
lan. 
Pair of bronze proportional compasses. Maker’s name, H. Sutton. 


Eighteenth century English. 
Pair of bronze proportional compasses. Late eighteenth century Italian. 


Compass in copper box and carrying case of ebony, with face of en- 
graved ivory. Sixteenth century Italian. 


_ Pair of proportional compasses with many engraved lines and geometri- 


cal figures. Maker, John of Niirnberg. 

Seventeenth century Italian bronze compass. 
Seventeenth century Italian bronze compass. 
Seventeenth century Italian bronze compass. 


Calculating device, in wood. Inscribed: “S.A.I.P.L.F.1896.” Seven- 
teenth century Italian. 


Bronze instrument for twofold use as a measure and a compass. Sev- 
enteenth century Italian. 


Elaborately ornamented bronze level tripod. Seventeenth century 
Italian. 


Bronze rule, with ‘the divisions of the plane and the azimuth. Maker, 
Fabric Bovolenta. Late seventeenth century Italian. 


Early decimal scale. In bronze. Maker’s name: Fabric Bovolenta. 
Late seventeenth century Italian. 


Metal quadrant, revolving on a vertical column with an oscillating 
compass turning in every direction. With a graduated pedestal and 
sundial showing the uneven hours, with the maker’s name, “Bartolomeo 
Scanavacca of the congregation of St. Philip Neri, by whom this work 
was executed in Naples in 1669,” and the Latin motto, “Vigilante, Quia 
nescitis diem et horam” (Watch! for you know not the day and hour). 
Seventeenth century Italian. 


Note: The maker of this instrument was noteworthy both as a scientist and a 
writer. 


Geometrical quadrant with movable pointer. Maker’s name: Bernardo 
Facini, Venezia, 1698. Seventeenth century Venetian. 

Metal quadrant moving in every direction on a vertical column, with 
the even and uneven hours marked on one side and the signs of the 
Zodiac on the other. With graduated compass below. Maker’s name: 
Prof. Giovanni Paduani, Veronese, 1590. Sixteenth century Italian. 
Divided lineal measure, and calculating rule.. In wood. Inscribed: 
“Girt, Line W.G.A.G.” Eighteenth century German. 

Graduated complete circle with movable divisions. In brass. Kigh- 
teenth century Italian. 


First Afternoon 


[No. 166—Continued ] 


Bronze instrument for twofold use as a measure and compasses. Ejigh- 
teenth century Italan. 


Instrument for calculation by means of parallel line. In bronze. Eigh- 
teenth century Italian. 


Bronze pocket instrument for twofold use as a measure and compasses. 
Eighteenth century Italian. 


Brass arithmetical measure with leather case. For making calculations 
by the aid of logarithms. Inscribed: ‘‘Bernardus Facini suo Marte 
fecit. Venitiis 1714.” Eighteenth century Venetian. 


Brass circle with graduations and revolving pointer to determine the 
angles. Eighteenth century Italian. | 


Bronze instrument for twofold use as a pair of proportional compasses 
and as a scale. Late eighteenth century Italian. 


Bronze reduction quadrant. Maker’s name: Bernardo Facini. Venezia, 
1701. Early eighteenth century Venetian. 


Octant (predecessor to the sextant) in bronze, ebony and ivory. With 
the Latin motto: “Litus Ignotum avide quaera—Infidam semper des- 
piciens undam.” Maker’s name: W. & S. Jones, Holborn, London, 
Eighteenth century English. 


Note: This instrument formerly belonged to Don Giovanni Langara Navarco of 
the Papal legion. 


Octant in bronze, ebony and ivory. Makers’ names: Spencer ELLEN 
& Rust, London. Eighteenth century English. 

Globe called the “Mera Metro,” invented by S. Loly of Trieste and 
made in Vienna in 1842. Nineteenth century. Austrian. 


167—CoLLECTION OF HoroLocicaAL INSTRUMENTS OF THE SIX- 
TEENTH, SEVENTEENTH AND EIGHTEENTH CENTURIES, 
TO BE SOLD AS A COLLECTION OF 75 SPECIMENS 


Sundial of ivory with magnetic needle and points of the compass. Made 
by Paulus Reinman. Sixteenth century German. 


Universal sundial with demountable index and chart of the Polar alti- 
tude. Original work in boxwood, with colored ornamentation by Fra 
ty Amanzio da Belluno, a Capuchin monk of the eighteenth century. Ejigh- 
jy teenth century Italian. 
= Horizontal and occidental dial of copper with chart of the latitude. 
Engraved: “William Herschel Londini fecit.” 1784. Eighteenth cen- 
tury English. 
Sundial in ivory, with a compass arranged to serve also as a lunar 


dial. Engraved with the emblem of the Jesuits’ Society. Late seven- 
teenth century Italian. 


First Afternoon 


[No. 167—Continued | 


Meridian in bronze with compass, plumb-line and quadrant for various 
latitudes. Eighteenth century German. 


Hexahedron. Eighteenth century German. 


Wooden hexahedron or cube, turning on a support, with a compass on 
each of the faces and quadrants, with gnomons to indicate the same 
hour on the different faces. Of painted wood. Maker: E. C. Stockert. 
Eighteenth century German. 


Dodecahedron of painted wood on a support of engraved bronze hav- 
ing eleven quadrants with gnomons on each of the sides of the device. 
Seventeenth century Italian. 

Small wooden column about six inches high with meridian and adjust- 
able gnomon. Late eighteenth century Italian. 


A boxwood quadrant devised to tell the time by the stars. Seventeenth 
century. 


Bronze meridian, with compass and quadrant for various latitudes. 
Maker, And. Vogl. Eighteenth century German. 


Toothed disk of silvered brass containing the configurations of the 
seven principal stars. Sixteenth century Italian. 


Disk of silvered brass containing the days and phases of the moon. Six- 
teenth century Italian. 


Disk of silvered brass containing the days of the month. Sixteenth cen- 
tury Italian. 


Copper disk engraved with a Cabala or “Sibilottola” with which horo- 
scopes were determined. On the reverse are engraved the initials L. R. 
F.**P, Early seventeenth century Italian. 

Copper disk on one side of which is a map of the world in which America 
is clearly to be distinguished, and upon the other side of which is a 
stereographic projection of the sphere. Seventeenth century Italian. 
Bronze meridian. With compass and adjustable gnomon. On four 
feet. Seventeenth century Italian. 

Rosewood box, divided into four compartments. Fitted with compass, 
universal daily and equinoctial sundial, lunar, sidereal and epatic dials. 
“Soli Deo gloria et honor.” Maker’s inscription: “D. Joannes Petrus 
Gallusius Salonensis. MDCLX XX.” Seventeenth century Italian. 
Sundial mounted on wooden tablet covered with paper. In cardboard 
case. Empire Period French. 

Brass meridian with compass. In case. Nineteenth century Italian. 
Bronze meridian, with a compass and quadrant calculated for various 
latitudes. Maker, And. Vogl. Eighteenth century German. 


Bronze equatorial dial with compass. Nineteenth century Italian. 


First Afternoon 


[No. 167—Continued | 


Brass equatorial dial with compass. In mahogany box with two levels 
in the angles. Nineteenth century Italian. 


Horizontal and analemmatic quadrant of brass with a compass. In 
mahogany box. Early nineteenth century Italian. 


Small compass with meridian. In wooden box. Early nineteenth cen- 
tury. 
Brass compass in mahogany case. Early nineteenth century Ltalian. 


Bronze compass marked with degrees. Maker, Giovanni Riva of Venice. 
Eighteenth century Venetian. 


Bronze compass, marked internally and externally with degrees. Maker, 
Atanasio Bonotte. Eighteenth century Italian. 


Horizontal sundial, with compass, in gilded bronze. Seventeenth cen- 
tury Italian. 

Graduated compass with meridian. In mahogany case. Nineteenth 
century Itahan. 


Mahogany case with compass and meridian, calculated for the Italian 
hours. Eighteenth century Italian. 


Horizontal and vertical sundial with compass. In ivory. Late six- 
teenth century Italian. 


Small horizontal and vertical sundial, arranged so as to be used as a 
lunar dial. With compass and in wood inlaid with ivory. Sixteenth 
century Italan. 


Bronze meridian with compass. On wooden feet. Seventeenth century 
Italian. 


Bronze case, with meridian and compass worked for sidereal purposes. 
Kighteenth century Italian. 


Horizontal and vertical sundial with compass. Mounted in wood. 
Kighteenth century Italian. 


Bronze case, with compass and meridian. Inscribed: “P. J. M. P. E. 
1761.” Eighteenth century Italian. 


Engraved ivory sundial, also arranged as a lunar dial. With compass. 
Sixteenth century Italian. 


Ivory plaque engraved on both sides. Maker’s inscription: “Hans 
Gebhart. Anno Domini 1544.” Sixteenth century German. 


Consisting of a wooden column about twelve inches high engraved with 
vellum finely painted with the signs of the Zodiac and with a meridian 
having a bronze gnomon and bearing the motto 


“Purche m/’abbia il sole amico 
_Con certezza Vora dico.” 
(As long as I have the sun as a friend 
With certainty the hour [ tell.) 


Seventeenth century Italian. 


First Afternoon 


[No. 167—Continued | 


Meridian mounted in a table of mahogany, ebony and ivory inlaid with 
silver and engraved in red and black. ‘This particular quadrant can 
be used with a compass in place of the same latitude of 43’ 44”. Maker’s 
inscription: “Pater Jes Petrus Colonna Romanus matem. fecit 1703.” 
Eighteenth century Italian. 


Gilded bronze meridian with which to determine the day and night 
hours. Engraved with the coat-of-arms of the Gambero family sur- 
mounted by a bishop’s hat, by a two-headed eagle and by the initials 
C. T. (This dial formerly belonged to Count Cesare Gambero, Bishop 
of Tortona about 1550, the initials standing for Cesare Tortonensis. ) 


Of gilded bronze, having on one side a sundial calculated for the lati- 
tude of 43’ 44” and on the other a night dial and calendar. Engraved 
with an inscription in Greek characters and contracted Greek words: 
*“Letizio Gualterio, the Florentine, made this in the year 1527 in Flor- 
ence when Alexander Medici was reigning.” Sixteenth century Italian. 


Solar quadrant for East and West. Showing on a finely engraved silver 
plate the morning and evening hours with the polar latitude of 43’. 


> and the maker’s inscrip- 


Bearing the motto, ‘*Tempora labuntur more,’ 
tion: “Petrus Vincentius Dantis Rinaldorum sua manu factum dicat. 
excellentissimo M. Alfanio Alfani nobili tusco. Ex villa Prepui Floren 


MCCCCLVI.” Fifteenth century Florentine. 


Circular ring of bronze with mariner’s needle and points of the compass 
and with meridian, calculated for the Italian hours, divided into eighty 
parts with their several degrees. Seventeenth century. 


Bronze compass with horizontal and vertical sundial in box of ivory 
wood, lined with tortoise-shall and divided into two compartments of 
which one is a bonbonniére. On the cover is inlaid a silver medal of 
the Empress Marie Louise with the date 1815. The box and compass are 
of the eighteenth century. French. 


Small disk of oxidized silver with Latin, Hebrew and Arabic inscriptions, 
also with the signs of the planets and various cabalistic figures. Six- 
teenth century Italian. 

Note: This extremely interesting piece was used by a magician or astrologer. 
Hour-glass with turned supporting spindles of ebony and ivory bases 
inscribed with four mottoes in Italian: (a) “In the atoms that pass 
witness the birth and dissolution of a world”; (b) “Your body will give 
no more dust than is here enclosed”; (c) “Ambition will not deceive if 
you realize that you are no more than an atom of this dust”; (d) “This 
sand will tell you as it falls more lives are lost than its grains.” Signed: 
“p. J. F. I. 1607.” Seventeenth century Italian. 


First Afternoon 


[No. 167—Continued | 


Meridian mounted on a wooden tablet with a cover and marked for the 
Italian hours. It bears this motto in Italian: “This dial is for the sun 
but the shade tells the time, according to the sun and is never ahead of 
time.” With the autograph signature: Arcetri 1615. G.G. Early 


seventeenth century Italian. Known as “Galileo’s Meridian.” 


Note: This dial is confidently believed to have been made by the famous Galileo 
Galilei. It comes from the collection of Signor G. Galetto of Florence. 


Ivory box profusely carved and with mariner’s needle and points of the 
compass, vertical sundial marked with the uneven hours and the motto: 
“Vita brevis, vinum Veneremque pharmaca cave.” On the exterior face 
of the cover is engraved a map on the Ptolemaic system with the signs 
of the Zodiac and of the seven major and minor planets. On the 
interior is engraved the plan of a horoscope with the inscription: ‘‘Licet 
ab horoscopio exordium vitae gnoscere. Oroscopo formulato de Natalis 
Joannis Paduanij qui natus fuit labente anno MCCCCCXYVI July. 
Veronia.” He was the maker of this instrument. Sixteenth century 
Italian. 

Horizontal meridian in marble with cannon in chased bronze, gnomon, 
compass with screws for leveling and the Latin motto; ‘*Me lumen vos 
umbra regit.”” On one side of the gnomon is engraved, “Eleo. Poli 49,” 
and on the other, “Patavina specula fabricatum 1750.” The cannon 
bears the date 1750. Eighteenth century Italian. 

“Giovilabio,” or instrument for finding at any time the position of 
the four satellites of the planet Jupiter. Made of wood and movable 
card-board and accompanied by table of rectification. Eighteenth cen- 
tury Italian. 


Note: This instrument is of unusual value, for it was invented and personally 
made by the celebrated astronomer and meteorologist, Giuseppe Foaldo. 


Ivory plaque engraved on both sides. Maker’s inscription: “Hans 
Gebhart. Anno Domini 1544.” Sixteenth century German. 

Equatorial sundial with compass. In gilded and silvered bronze. 
Maker: And. Vogler of Augsburg. Eighteenth century German, 


Bronze equatorial sundial, with compass. Eighteenth century Italian. 


Wooden plaque with compass and meridian. Late eighteenth century 
Italian. 


Barrel-shaped box of bone encircled with bosses of amber set as precious 
stones, with compass, sun and lunar dials and with a movable disk 
showing the phases of the moon and the lunar days, Seventeenth cen- 
tury Italian. 


Boxwood case with incised figures and lined with tortoise-shell. With 


compass, meridian and the inscription: 


“Christophorus a Lignamine doctor physicus 
Sybillae filius maior Romae fecit 1799.” 


Eighteenth century Italian. 


First Afternoon 


[No. 167—Continued] 


Ivory plaque engraved with the meridian. Sixteenth century Italian. 
Horizontal and vertical sundial with compass. In wood covered with 
paper. Early nineteenth century Italian. 

Horizontal and vertical sundial with compass. In wood covered with 
paper. Early nineteenth century Italian. 

Horizontal and vertical sundial with compass. In wood covered with 
paper. Early nineteenth century Italian. 

Marble meridian with bronze gnomon inscribed with the Italian and 
Babylonian hours, with the signs of the Zodiac and the motto, ‘“Tempus 
Nomini lupus.” Late sixteenth century Italian. 

Very small wooden column covered with lacquered paper and with a 
sundial for the Italian hours in the latitude of 45. 

Horizontal and vertical dial with compass. In wood and marked for the 
astronomical hours. Eighteenth century Italian. 

Marble meridian marked with the astronomical and Italian hours and 
with the Latin motto, “Heu stat sua quique dies.” Signed: Pat. Mat. 
Bol. 1609, Early seventeenth century Italian. 

Slate meridian marked with the Italian hours. Eighteenth century 
Italian. 

Meridian on a plate of silvered copper marked with the Italian hours 
and the twelve signs of the Zodiac. With movable compass. In wooden 
case. Sixteenth century Italian. 

Sundial on paper. With a plummet accompanied by instructions. 
Known as a “Cabinet dial.” 

Various meridians plotted on different planes and with the points of 
the compass. Of wood covered with paper and forming one instrument. 
Sixteenth century Italian. 

Bronze equinoctial sundial. Late sixteenth century Italian. 

Bronze solar ring with hour indications available for any season, with 
socket in which the post turns. 

Bronze solar ring with hour indications abailable for any season, with 
socket in which the post turns. Eighteenth century Italian. 

Bronze solar ring with hour indications available only in the time 
of the equinoxes, and with the Latin motto, “Da Mihi Solem quoti- 
dianum.” Dated 1672. Seventeenth century Italian. 

Bronze universal astronomical ring. Arranged so as to tell the hour 
of the day in any part of the world. Sixteenth century Italian. 

Ivory quadrant mounted in silvered bronze and supported by metal 
columns. Accompanied by printed directions for its use. Signed: 
Bruni in Bologna 1787. In leather-covered case. Eighteenth century 
Italian. 


TEXTILES, EMBROIDERIES AND RUGS 


As the center of the world’s luxury, which there attained a pitch 
undreamed of since the days of the Byzantine Empire, [Italy of the 
fifteenth and sixteenth centuries was the home of shimmering silken 
and velvet stuffs and the ultimate glories of the art of the needle. 

From the days when Roger II of Sicily brought Oriental weay- 
ers and embroiderers to Palermo, the art spread over the whole coun- 
try until in Renaissance times there was no town too small to have 
its Bottega devoted to the activities of weavers and needleworkers. 
The Popes, the Venetian Doges, the Dukes of Florence, Milan and 
Ferrara encouraged the art with constant and liberal orders, while 
distinguished artists, such as Raphael and Perino del Vaga, thought 
it not inconsistent with their dignity to draw designs for the em- 
broiderers. 

Within the last quarter of a century, however, the awakening 
consciousness of collectors to this wealth of beauty and decorative 
value has led to the dispersal throughout the world of a vast ma- 
jority of these cut velvets, silken damasks and elaborate embroid- 
eries, which were at one time a commonplace of Italian life. It is, 
therefore, the more remarkable that Professor Volpi has been able 
to bring to us so characteristic a showing of Textiles, for it.is at 
least doubtful if more important examples of the sixteenth century 
Italian looms have been, at one time, offered to American collectors. 

Regarding the small collection of rugs, it must be remembered 
that it was through Italy that Europe of Renaissance times was 
brought into touch with the near East, and it was the Italians who 
first perceived and appreciated the beauty of the Turkish and Persian 
floor-coverings. As early as the middle of the fifteenth century 
Bartolo painted one in a picture now in Siena, and though one type 
of sixteenth century Asia Minor rug is known as the Holbein, it is 
on the pictures of the Italian, rather than of the Northern Masters, 
that we more frequently find them. These rugs of Professor Volpi’s, 
then, have a twofold interest. Not only are they strikingly beautiful 
examples of the earlier Oriental looms, but each one of them has 
spent long centuries of service in the Palace or Villa of some Italian 
of high degree. | 

Ea 


SECOND AFTERNOON’S SALE 
TUESDAY, DECEMBER 18, 1917 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 168 to 344, inclusive 


168—SEVENTEENTH CrenTuRY IraLiAn SILK TABLE Cover 7 @ 


Rectangular shape. Of green silk, the center embroidered in 7 


ap 7 colored silks and gold thread, with coat-of-arms surrounded by 
a scrolled pattern. Finished with green silk fringe. 


Length, 1 foot 10 inches; width, 1 foot 2 inches. 


169—SEVENTEENTH CENTURY TusCAN VELVET F’RAGMENT 77 7 
Irregular rectangular-shaped fragment of drapery. Of red 
7/— velvet embroidered, in a bold design, in heavy appliqué of gold, 
with a design of scrolls and flowers, finished with a fringe of gold 


thread. : 
Length, 8 feet 2% inches; width, 2 feet 24% inches. 


pee 4G 7 A- Chihce ar 


t AZLITL Fe 


Second Afternoon 


170—FRAGMENT OF EIGHTEENTH CENTURY Wes ae Vetver 7 AB 


TAO 


Rectangular shape. Jardiniére velvet patterned on a white 
ground with flowers and leaves in various colors. 


Length, 2 feet 5 inches; width, 2 feet. 
@ 


171— EIGHTEENTH CENTURY ITALIAN SILK TABLE CovER 2742. 9- 
Rectangular shape. Of green moire antique silk embroidered in 
/A = the center with a double coat-of-arms in colored silks and gold 
thread and with scrolled ornaments at the corners embroidered 
with gold. Finished with a fringe of gold threads. 


Length, 3 feet 6 inches; width, 3 feet 2 inches. 


172—SEVENTEENTH CENTURY ITALIAN VELVET COVER 7y2¢g, 2. KX P 


ee Rectangular shape. Of yellow velvet finished with a border of 
| gold lace. 


Length, 4 feet 10 inches; width, 4 feet 10 inches. 


173—SEVENTEENTH CENTURY VENETIAN SILK TABLE COVER zy, 6 
Rectangular shape. Of red silk embroidered in gold, in the 
JEz center, with a circular rayed medallion surrounded by a floral 
and scrolled patterning. Finished with silver lace. 


AO. X Ra 


Length, 2 feet 10 inches; width, 2 feet 61% imches. 


(Illustrated) 


See ‘ . 
; paises adae a 
¥ ‘ — 3 


No. 173—SEVENTEENTH CENTURY VENETIAN SILK TABLE COVER 


Second Afternoon 


174—SEVENTEENTH CENTURY FLORENTINE Paper HoLperR {f/f - Gena 


Rectangular shape. Of red silk. Divided into three portions, 
the center one of which has a projecting lappet and five horizon- 
//3— tal bands to receive papers. Embroidered in gold and silver 
with panels of scrolls, flowers and leaves and with borders of 
voluted scroll patterning. 


Height, 2 feet 2 inches; width, 1 foot 10 inches. 


175—SEVENTEENTH CENTURY ITALIAN SILK CHALICE COovER DW. a 
Rectangular-shaped chalice cover and pouch. Of red silk em- a 

4. 0-hbroidered in gold thread and colored silks, with centers of flo- 
riated crosses and detached floral sprays and borders of a 
scrolled and floral patterning. 


Cover: Length, 2 feet 1 inch; width, 2 feet. 


Second Afternoon 


a. 
AEF 
en a 


a 


176—SEVENTEENTH CENTURY FLORENTINE TABLE COVER ee 
Rectangular shape. Of light blue velvet. Embroidered Hiesneaies ° 
A- gold thread with pear-shaped figures of scrolled interlacements 
at the corners ay.d with a deep border of scrolled interlacements, 
leaves and torsade patternings. 


40 
Length, 3 feet 51% inches; width, 3 feet 8 inches 


177—SEVENTEENTH CENTURY ITALIAN VELVET ALTAR FRONTAL 


sg S? Rectangular shape. Of green velvet, with border of gold 
galloon and heavy fringe of gold thread. PAL. 0. ratte, 


» ” 
—_ 


Length, 3 feet 514 inches; width, 3 feet 134 inches. 


Second Afternoon 


178—SEVENTEENTH CrEentTuRY VENETIAN Cut VELVET PANEL. 
Rectangular shape. Of yellow velvet cut in a pattern of large 


/@0 conventional fan-shaped flowers with serrated leaves, enclos- 


ing carnation blossoms. On a red ground. Bordered with 
narrow gold galloon. 


Length, 4 feet 10 inches; width, 2 feet 3 inches. 


x, 2 \s fr 


Ol PURE Tapas BS ey oy AZ 
K FO- /7F$B. ALL F ) 


2.KQm 


Second Afternoon 


~ 179—SEVENTEENTH CENTURY ITALIAN SILK OMERALE VEIL Y feng act 


| Square shape, of red silk embroidered in the center with the , 
OC-— Sacred Monogram in gold thread and colored silks and with a 
scrolled border. Serrated edge. 


Length, 3 feet 44% inches; width, 3 feet 41% inches. 


180—SEVENTEENTH CENTURY EMBROIDERED SILK CHASUBLE 
Spade-shaped. Of purple and cloth of gold and silk. Com- 


200- pletely and heavily embroidered, in gold, in a pattern of acan\. Ze, ela ote 
thus-leaf scrollings, volutes and trefoil borderings. On the FP 
orphrey, at the back, is applied a Bishop’s coat-of-arms em- 
broidered in silver and colored silks. 
181—SIXTEENTH CENTURY SIENESE VELVET CHASUBLE see ce 
Chasuble of red velvet, the orphrey embroidered in tapestry “2 Ch rca 


2/0 — point in colored silks with two figures of saints in front and two 
in the back and with a coat-of-arms. 


Back length, & feet 4 inches; front length, 3 feet 9 inches. 


182 


SEVENTEENTH CENTURY ITALIAN VELVET CHASUBLE LHe. TT 

Spade-shaped chasuble, maniple with spreading ends and square eat eer 
4, 00-chalice-cover. Of orange yellow velvet, the chasuble with 
orphrey cut border of gold galloon, the maniple and chalice- 


cover to correspond. 


Chasuble: Length in front, 2 feet 3 inches; length of back, 3 feet 
6 inches. 
Chalice cover: Length, 2 feet; width, 2 feet. 


183—SEVENTEENTH CENTURY ITALIAN VELVET CHASUBLE Zyiz, o 4,. . 
Of red velvet, with a border worked in gold and silver thread. “CEA LO, 

On the front, on a ground of white silk a figure of the Virgin 

gs embroidered in gold thread and colored silks, on the back two 
Rectangular shape. yellow velvet finished with a border of gold 


lace. 
Length of front, 2 feet 6 inches; length of back, 3 feet 2 inches. 


Second Afternoon 


184—SEVENTEENTH CENTURY ITALIAN CUT VELVET STRIP 4, %_. Oe 


Rectangular shape. Of red velvet self-colored and cut in floral 
LG De pattern, surrounded by Coe scrolling. Finished with fringe 


of gold thread. 
Length, 4 feet 10 inches; width, 1 foot rey inches. 


185—SIxTEENTH CENTURY Teri Cut VELVET STRIP 7 Ctrxct 2 5, 
2h ; Rectangular shape. Of blue velvet with sunken patterning of Li t 
scrolls surrounded by a border of gold galloon. a 


Length, 5 feet 4 ches; width, 1 foot 9 inches. 


186—SEVENTEENTH CENTURY FLORENTINE SILK LAMBREQUIN 
Rectangular shape. Of red silk with figure of the Virgin, em- | 
broidered in colored silks in the center, flanked by a bishop’s-@er net a 

“4~ coat-of-arms and with scrolled and floral decoration in appliqué ¢@ 
silks and gold and silver embroidery. Scalloped edge, finished | 
with a fringe and tassels of silk and gold thread. 


Length, 5 feet 2 inches; width, 12 mches. 


187—Patr oF SEVENTEENTH CENTURY VENETIAN CUT VELVET 


PANELS ee - a 
Rectangular shape. Of red velvet cut in a repeated pattern 7 = 


of cinquefoil scrolled medallions enclosing conventional pome- 
d ¥O- granates and surrounded by Gothic scrollings. On a ground 
of cloth-of-silver. Finished with silver fringe. 


Length, 5 feet 11 inches; width, 2 feet. 
(Illustrated) 


RT 


Wey yaaa 


(Bey 


OCC BARN 


No. 187—Pam or SEVENTEENTH CENTURY VENETIAN Cur VELVET PANELS 


Second Afternoon 


188—SEVENTEENTH CENTURY FLORENTINE SILK CHASUBLEQzy4 pa g 

Of red silk embroidered with coat-of-arms surmounted by a 

7 ee Bishop’s Hat embroidered in gold plates and thread and sur- 
rounded by a narrow border. 


Length of front, 2 feet 334 inches; length of back, 3 feet 514 inches. 


189—SEVENTEENTH CENTURY VENETIAN CuT VELVET CHASUBLE 
Of red velvet cut in a gothic design of scrollings and pomegra-¥, 
/ A-O— nates on a ground of cloth-of-gold. Bordered with narrow gold 
galloon. 


Length of front, 2 feet 8 inches; length of back, 3 feet 4 inches 


190—SEVENTEENTH CeNnTURY IraLian ALTAR FRONTAL gang. g ay 


Rectangular shape. Center of red velvet, surrounded, on three 
sides, between bands of applied gold lace, with broad border 
of petit-point embroidery worked in a design of oval panels 
formed by interlacing strap work and occupied by subjects of 
figures under canopies, animals and so forth. Finished with 
gold fringe. 


BU Zb- 
Height, 3 feet 1 inch; length, 5 feet 8 inches. 


191—SEVENTEENTH CENTURY ITALIAN [E/MBROIDERED SILK 


OmMERALE VEIL an : 
Rectangular shape. Of red silk divided into three ee by | 


2. 96- two broad stripes embroidered in gold and colored silks in a 
pattern of acanthus-leaf scrolls and flowers with scrolled coats- 
of-arms. 'The panels are surrounded by borders of acanthus- 
leaf scrolls and flowers. Finished with narrow gold lace. 


Length, 3 feet 4 inches; width, 3 feet 3 inches. 


(Illustrated) 


OR eer CARL Sei ose a ee 
She: Rae - at phe 
: : : : : as 


%. 


ORE RGR 


EDEL 


Cee mye 


ae 


dutdieithi tt. eo. 16, ae Re aa ahs a 

- ae ee a es 

| a : - , i PE cs oh OES e & & a, 
(cenaiecietatinour aimapcceneraeae f oem oe : Ne et eae 2 ee a eee aes eee eT ee 


No. 191—SrEveNTEENTH CentTuRY IratiAN EmprorpErEp SILK OMERALE VEIL 


Second Afternoon 


192—-SIXTEENTH CENTURY VENETIAN TABLE COVER 77 Pee 4 
Rectangular shape. Of red velvet embroidered in silver and y, a 
colored silks, with a quatrefoil-shaped medallion enclosing an — 

S0b- octagonal rosette and large flower forms. Otuside are four 
birds and floral patternings in the corners. Surrounded by a 
broad scrolled border between two narrow borders of trefoil 
patterning. 

Length, 3 feet 21% inches; width, 4 feet 10 inches. | 


(Illustrated) 


1983—SIXTEENTH CENTURY ITALIAN VELVET TABLE COVER 
yee es Rectangular shape. Of purple velvet. 
Length, 5 feet 2 inches; width, 3 feet 334 inches. 


194-——SEVENTEENTH CENTURY ITALIAN SatTIN TABLE COVER 4& J Oa 
Rectangular shape. Of red satin embroidered in colored silks, a 
GU with a diapered design of vases of flowers and scrolled figures i 
surrounded by a deep border of scrolled leaves. Finished with 

a narrow silver galloon and lined with yellow silk. 


Length, 6 feet 2 inches; width, 2 feet 4 mches. 


195—SEVENTEENTH CENTURY ITALIAN SILK OMERALE VEI 


* 


Rectangular shape. Omerale veil of red silk embroidered wit 
Tx gold thread in the center, with the Sacred Monogram in 
a circular medallion and with scrolled decoration at the 
angles. Surrounded by a gold border and finished with a gold 
fringe. 
Length, 5 feet 624 inches; width, 2 feet 2 inches. 


¢ 


TaBLE Cover 


NETIAN 


VE 


TH CENTURY 


N 


XTEE 


192—S1 


No. 


— 


Second Afternoon 


J Rete 2 PY nee 


eg hari 


196—SEVENTEENTH CENTURY ‘TUSCAN SILK ‘TABLE COVER Ubirqucat 


Rectangular shape. Of green silk embroidered in gold, an 
Go 79- colored silks, with scrolled and floral designs at the angles and 
with an acanthus-leaf scroll and floral border. 


Length, 5 feet 9 inches; width, 3 feet 6 inches. 


—— —— srt das sets bes -—- peo ay er 


J 


Second Afternoon 


197—SrxTEENTH CENTURY FLORENTINE Cut VELVET TABLE COVER 7 


Rectangular shape. Of purple velvet cut in a diapered pattern 
/0- of pomegranate and detached serrated leaves. On a cloth-of- 
gold ground. Finished with a narrow gold fringe. 


Length, 4 feet 8 inches; width, 3 feet 214 inches. 


Second Afternoon 


198—SIXTEENTH CENTURY ITALIAN PETIT-POINT TABLE COVER ad, ‘ > i 
n 2 | 


Rectangular shape. Embroidered in Italian petit-point~a 
Qo in gold, silver and colored silks, the center with a small design 
Jl Es in light colors on a dark ground, flanked by bands of floral and 
foliage pattern on a white backgrounud. Bordered with gold 
galloon and finished with blue silk and gold fringe. 


Length, 3 feet 414 inches; width, 3 feet. 


Second Afternoon 


199—SEVENTEENTH CENTURY ITALIAN PeEritT-point PIcTURE : 
Embroidered in Italian petit-point with a landscape flanked ~~ ee 
on either side by large trees in full foliage. In the distance are 
hills, fields, a torrent fed by a waterfall and small houses, and 
Opa in the mid-distance is a group of ecclesiastical buildings and 
| two figures. A stream of water occupies the foreground with 
a man in eighteenth century costume fishing. Color scheme of 
browns, blues and light and dark greens. In an old frame 
of carved and gilded wood. 
Height, 14 inches; width, 27 wches. 


200—FIrreENTH CENTURY VENETIAN Lace FLOUNCE _3, oy, 

° ° e 6 5 SPELL. ~/ Bfhific> a; 

yy go} lounce of Venetian lace worked in Gothic point, ina pattern “7 
of circular medallions and scallops. 


Length, 10 feet 6 imches. 


201— EIGHTEENTH CENTURY eeu VELVET Lapy’s DREss _>, BS 
Lady’s robe of green velvet, trimmed with a border of white 
/ fp F- ~ silk and gold cords in a twisted pattern and with gold and silk 
braid. 


202—SEVENTEENTH CrnTUuRY ITALIAN VELVET CHASUBLE_ zy, bn o LE 
Spade-shaped chasuble with stole and chalice cover to match. 
TZ 2 Of rose-colored velvet, chasuble with orphrey and border of 
~ gold galloon, stole with spreading ends and square chalice cover 
bordered with gold galloon. 


2083—SEVENTEENTH CENTURY ITALIAN VELVET CHASUBLE AND 
MANIPLE oo 
Chasuble of red velvet banded with cross of yellow and green. 
/ 2 2—pyrocaded silk and narrow border of gold galloon. Maniple to 
match, with cross worked in gold and ends fringed with gold and 
silk. 


PPC-3 exe 


Second Afternoon 


204— SIXTEENTH CENTURY ITALIAN VELVET ALTAR FRONTAL WE 


Rectangular shape. Of red velvet with frieze, finished with a 
knotted silk fringe, and edged with gold galloon, of acanthus- 
leaf scrollings embroidered in gold and silver with figures of 
we’ O— angels in colored silks; at the upper corners are cherubim in gold 
and colored silks. The center of the frontal is similarly embroid- 
ered with an oval medallion enclosing the Sacred Monogram and 
surrounded by volutes, acanthus leaves and angels bearing the 
emblems of the Passion. At the four angles are trefoiled acan- 
thus-leaf scrollings. 
Height, 3 feet; length, 6 feet 5 inches. 


205—SEVENTEENTH CENTURY ItaLian VeLver DaLmaticar KL tog Pix q 
Dalmatic of red velvet with bands, panels, and geore cuffs | 


4.09 of green and yellow silk brocade. 


206—SEVENTEENTH CENTURY ITALIAN VELVET DaLmaTiIc Gf, 


J G0- Dalmatic of red velvet with bands, panels, and sleeve cuffs 
of green and yellow silk brocade. 


Second Afternoon 


ALE ae oe Bie 


Rectangular shape. Of white silk, the center embroidered rrithi 
gold and silver thread, with coat-of-arms of the house of Castile 

4fO— and Aragon. Supported by rampant lions and surmounted 
by a royal srown. At either side are military trophies of flags 
and cannon surmounted by helmets and vertical scrollings. 
Bordered with gold galloon. 


Length, 6 feet 8 inches; width, 8 feet. 


207— EIGHTEENTH CENTURY ITaLIAN SILK TasLe Cover . BI GB 


208—SIXTEENTH CENTURY VENETIAN SILK BrocapbE TABLE COVER 


Rectangular shape. Salmon-colored ground of moiré silk 
//f— woven in a design of pointed leaves, fruits, flowers and diaper- 
ings in gold and silver. 


Length, 6 feet 4 wmches; width, 3 feet 5 inches. 


209—SEVENTEENTH CENTURY FLORENTINE SATIN OMERALE VEIL _ . 
Rectangular shape. Of red satin embroidered, in the center, ine we Che. 
a: Yo- gold thread with Sacred Monogram and with a deep border of 
scrolled acanthus leaves. Finished with a fringe of gold thread. 


Length, 5 feet 10 inches; width, 4 feet 4 inches. 


210—SEVENTEENTH CENTURY ITALIAN VELVET TaBLE COVER 
43 O-— Rectangular shape. Of red velvet finished with a silken fringe. ¢ DLE ve Tle 


Length, 5 feet 2 inches; width, 4 feet 614 inches. 


211—SEVENTEENTH CENTURY ITALIAN VELVET TABLE COVER 


4 92— Rectangular shape with rounded corners. Of red velvet lined, 
with green silk. bot ear 


Length, 6 feet 10 inches; width, 5 feet %4 inch. 


Second Afternoon 


212—SEVENTEENTH CENTURY ITALIAN EMBROIDERED SILK OMERALE 


VEIL W : 
Rectangular shape. Divided into three panels by two road 


stripes embroidered in gold and colored silks with a pattern of 

GAs scrolled acanthus leaves and flowers; the panels are surrounded 
by borders of spiral acanthus leaves and in the center is an ~ 
embroidered coat-of-arms with acanthus-leaf mantling and a 
crest. Finished with exceptionally beautiful gold lace. 


Length, 6 feet 8 inches; width, 3 feet 8 ticles: 
(Illustrated) 


213—SEVENTEENTH CENTURY VENETIAN BrocapE TaBLE Cover OG 
r Rectangular shape. Of red silk brocade patterned in gold and a 
LB. ~~ blue in the center with the coat-of-arms of the Paleologue 
family. (One of the Paleologue family was Doge of Venice.) 


Length, 6 feet 5 inches; width, 3 feet 24% inches. 


214—SEVENTEENTH CeEentTuRY ITALIAN Cut VeEtvet ALTAR 


FRONTAL 
Rectangular shape. Paliotto or altar frontal of red Al: , cut 
Sf 2 Be with diapered pattern of floral medallion, with a border of 
pomegranates and Gothic scrollings. Finished with gold braid 
and fringe. : 
Length, 7 feet 4 inches; width, 2 feet 8 inches. 


215—FIrTEENTH CENTURY FLORENTINE VELVET ALTAR FRONT 7g a : 
7 


JORectangular shape. Of red velvet, paneled and bordered with 
gold galloon and finished with gold fringe. 


7 


fhe 
ay oe 


216—SEVENTEENTH CENTURY ITALIAN VELVET ALTAR FRONTAL wv, 


wo 
v. 


Rectangular shape. Of purple velvet, embroidered in silver 
A Ao-thread and colored silks with the Papal coat-of-arms, surrounded 
by border of gold thread. Finished with gold fringe. 


Length, 8 feet 4 inches; width, 2 feet 8 inches. 


sat: 
212-——-SkevENTEENTH CentuRY ITALIAN EMBROIDERED SiILK OMERALE VEIL 


& 
fl 


No. 


Second Afternoon 


217—SIXTEENTH CENTURY FLORENTINE EMBROIDERED VELVET 


PANEL | QG OL et geet 
Long rectangular shape. Of red velvet embroidered in gold, 


silver and colored silks with a patterning of scrollings, flowers 
Za pend leaves enclosing five quatrefoil scrolled medallions. ‘That 
in the center is occupied with a Holy Dove bearing a leaf, those 
on either side with figures of Saint Francis of Assisi and St. 
Monica, and those at the extreme ends with coats-of-arms of the 
Borghese family. Bordered with gold galloon. 
Length, 7 feet 1014 inches; width, 10 inches. 
(Illustrated) 


218—SEVENTEENTH CENTURY FLORENTINE ae SILK 


PANEL 
200- Rectangular shape. Of green silk Teen Fe in ae ey, 


silver with an all-over pattern of scrolls, flowers ae leaves. 
Finished with a narrow gold fringe. 


Length, 14 feet 61 inches; width, 1 foot 8 inches. 
(Illustrated) 


219—SEVENTEENTH CENTURY ITALIAN VELVET ALTAR P'RonTALgy -e 
of 


Pahotto or altar frontal of red velvet with Papal coat-of-arms 
Ao & O-in center embroidered in gold and silver thread, bordered with 
gold galloon and finished with fringe of gold threads. 


Length, 7 feet 4 inches; width, 3 feet. 


220— EIGHTEENTH CENTURY ITALIAN VELVET ALTAR FRONTAL 
Paliotto or altar front. Rectangular shape, of red velvet pan- 


Pe Q_0-neled, with vertical bands of gold galloon and finished with gold 
galloon and heavy gold fringe. 
Length, 7 feet 4 inches; width, 3 feet. 


TANV MHS COMACIOULNWS, ANLENGMOT I. AWOGNA) HONWIENTATG—BLZ ‘ON 
TONY LATA A COUAMOWING, ANTENGWOT YL AWAINAD HIN ENTATG—)TR ‘ON 


creek on i al dada at cA aR RT 
\ rd ® 


af al ¥ > » - 
J 2 4 » ¥ re . ;* 
. ¥ ww + 


‘ 


; Ds 


; f $)) / 


Second Afternoon 


221—SEVENTEENTH CENTURY Tuscan Perit-poInt TABLE COVER 
_ Rectangular shape. Embroidered on a cream-colored ground@ / oo 
S/0- in a tent stitch and in colored silks with fruits, flowers, acanthus 
leaves and scrolls. ae 
Length, 6 feet 1014 inches; width, 4 feet. 
(Illustrated) 


222 KIGHTEENTH CENTURY ITALIAN SILK TABLE COVER 


Rectangular shape. Of silk, woven in a pattern to simulate 
an Oriental rug, with a mihrab of rose color having a cusped | 

Vs ae arch supported by two spiral columns and many lamp formsU& ° 
in darker shades of red. The sky is patterned with floral 
forms on a rose-colored ground. ‘The inner guard is of white 
with a diapered patterning and the border of green with a 
pattern of interlacements. 


Length, 4 feet 10 inches; width, 3 feet 5 inches. 
223— EIGHTEENTH CreNnTURY ITALIAN SILK TABLE COVER Wyrg 


Rectangular shaped. Woven to simulate an Oriental rug, 
A/a. 0— the field, with a silver ground, patterned with quatrefoil-shaped 
interlacements in brown enclosing floral medallions of colored 
silks. Outer and inner guards of scrolled leaves and flowers 
with birds in silver and colored silks. Border with silver 
ground patterned with a double meander of green enclosing 
floral medallions in colored silks. Lined with red silk. 
Length, 6 feet; width, 4 feet. 


224—SEVENTEENTH CENTURY VELVET TABLE COVER YY, : j 
2 b0- Rectangular shape. Of green velvet, finished with green ‘Ak a 
¢ knotted fringe, and lined with green silk. d 
Length, 7 feet; width, 5 feet 4 inches. 


225—SEVENTEENTH CENTURY ITALIAN Damask TABLE COVERY 7 2 
WA Rectangular shape. Of blue silk damask, finished with silk 


fringe. 
Length, 9 feet 74% inches; width, 6 feet 8 wches. 


226—SEVENTEENTH CENTURY ITALIAN VELVET BEDSPREAD 


ZO Q—Rectangular shape. Of red velvet. Af, ABengyon 
Length, 8 feet 7 inches; width, 8 feet 6%nches. 


UaAOKT) ATAV YT, LNIOd 


ib 


ILa 


NV 


OSA, 


AWD 


iL 


N 


ay HL 


NOWOING 


AAS 


LGG 


O 


N 


Second Afternoon 


SEVENTEENTH CENTURY ITALIAN SILK COPE Wye 

Of silk with a spade-shaped hood. Embroidered in gofd and 

B70- silver thread with a border of scrolled and floral pattern, the 
hood with a pattern of the same character. 


227 


Length, 10 feet 8 inches; width, 5 feet 24% inches. 
(Illustrated) | 


228—SIXTEENTH CENTURY ITALIAN SILK COPE bt a 
Semicircular shaped. Of red moiré silk bordered with gold a 


/— galloon and with two coats-of-arms surmounted by a Bishop’s 
Hat and embroidered in gold and colored silks. 


229—SEVENTEENTH CENTURY ITALIAN VELVET COVER AND ‘Two 


CUSHION COVERS Cf. 
J6?- Rectangular shape, of blue velvet eo, gold galloon 
and with two cushion covers to correspond. 
Cushion: Length, 1 foot 8 inches; width, 1 foot 7 inches. 
Cover: Length, 7 feet; ondth 4 feet 10 inches. 


230—SIXTEENTH CENTURY ITALIAN VELVET TABLE COVER_;z,~ L 4 

bf 000 22 Rectangular shape. Of blue velvet embroidered in gold. Bor- ; fe 
dered with gold galloon. o 

| Length, 7 feet 7 inches; width, 6 feet. 


231—Pair oF SIXTEENTH CENTURY ITALIAN VELVET CUSHION 


oO Rectangular shape. Covered with light blue velvet surrounded 
bofo=— by a deep border of scrolls, flowers and leaves embroidered 
in gold. ‘To match the preceding. 


GG 


232—Pair OF SIXTEENTH CENTURY ITALIAN VELVET CUSHIONS @ 4 
— ~449 Rectangular shape. Covered with light blue velvet surrounded 
4» by a deep border of scrolls, flowers and leaves embroidered in 
gold. 'To match the preceding. 


No. 227—-SEVENTEENTH CentTURY IraLIAN Sitk COPE 


Second Afternoon 


238— SEVENTEENTH Century Irautan VeLver Porrmre Ci Lf Ge .. 
Rectangular shape. ‘The center of two breadths of yellow velvet 
59702 connected and edged with double gold galloon and surrounded 
on three sides by a wide border of yellow satin decorated with 
appliqué embroidery in colored silks in an acanthus scrolled 

design. 
Height, 8 feet 6 inches; width, 5 feet. 


(Illustrated) 


234—SEVENTEENTH CENTURY ITALIAN VELVET COVER 


/ 3 &— Rectangular shape. Of light brown velvet. Onoid Bstarcal | 


Length, 8 feet 4 inches; width, 5 feet 2 inches. 


235—SIXTEENTH CENTURY IraLIAN VELVET TABLE COVER 0 Cb te 
36 0O-— Rectangular shape. Of purple velvet with gold galloon and 7 : 
finished with gold and silk fringe and tassels. 4 


Length, 7 feet 4 inches; width, 6 feet 4 inches. 


236—Parr OF SEVENTEENTH CENTURY ITALIAN VELVET CUSHION 


Zo Covers @ 
~ Rectangular shape. Of purple velvet with borders of gold 


galloon. ‘To match the preceding. 
Length, 2 feet ‘724 inches; width, 1 foot 744 inches. 


237—SEVENTEENTH CENTURY ITALIAN SiLK TABLE Cover 


4 $— Rectangular shape. Of red silk with border of gold setatiae 
st Finished with fringe of gold thread. 


Length, 18 feet 4 inches; width, 3 feet 9 inches. 


a 


es eee 


wn ee eR 


RE 


i. § 
E 


Port! 


ELVET 


= 


Neal 


y- ITALIA 


NTUR 


E 


HG 


a) 


N” 


SEVENTEE 


3 


o. 23 


Second Afternoon 


238—SEVENTEENTH CrentTURY IraLiAN J ARDINIERE VELVET Por- 
TIERE af 
3 Lp-2 
2,/O— Rectangular shape. Of jardiniére velvet tdi design of Ns 
green leaves and red and purple flowers on a background of — 
cloth-of-gold. Bordered with gold galloon. 


Height, 6 feet 4 inches; width, 5 feet. 


239—SEVENTEENTH CENTURY ITALIAN VELVET COLUMN DRAPERY 


Rectangular shape. Of red velvet edged with a double border 

ob 77 of gold galloon and finished with a fringe of gold. At the 
sides are two embroidered coats-of-arms surrounded by gold 
embroidery and in the center figures of the Saints painted in 
colors. Lined with moiré cloth of gold. 


Length, 11 feet 8°94 inches; width, 2 feet 1 mech. 


240—SEVENTEENTH CENTURY ITALIAN VELVET HANGING eds i a 
cre : 


Va g- Xectangular lambrequin. Of red velvet, patterned with PP) 
qué pone galloon and finished with gold fringe. 


Length, 10 feet 8 inches. 


241——Pair OF SEVENTEENTH CENTURY VENETIAN VELVET PORTIERES 
JH. 90 Rectangular shape. Of red velvet, with two vertical bands and 
border of scrolled design embroidered in gold and silver. YW 


Height, 8 feet 3 inches; width, 4 feet 10 inches. 


242—SEVENTEENTH CENTURY ITALIAN VELVET PORTIERE 4/ Congucatey 


Rectangular shape. Of red velvet bordered on three sides and 
4 I°~ with two appliqué vertical bands embroidered, in gold thread 
and colored silks, with a design of rods spirally intertwined with 
foliage. 
Height, 8 feet 134 mches; width, 5 feet 3 inches. 


Second Afternoon 


243—SEVENTEENTH CENTURY ITALIAN VELVET COVER Dy : 
76 0- XKectangular shape. Of purple velvet, with interlaced Hestew 


in gold galloon at the angles and bordered with gold galloon. 


Length, 9 feet 184 inches; width, 5 feet 5 inches. 


244— SEVENTEENTH CENTURY VENETIAN BrocapE CovER- Zeg DLE. 
9) Rectangular shape. Of silk brocade patterned with a des#n y, 


of vases and flowers in gold and silver on a red ground. Edged 
with silk fringe. 
| Length, 8 feet 134 inches; width, 7 feet 3 inches. 


245—EIGHTEENTH CENTURY ITALIAN VELVET TABLE COVER lay 


Rectangular shape. Of light blue velvet, with scrolled decora- 
LPL Z- tions at the corners embroidered in gold and with a border of 
gold galloon. Finished with a silk and gold fringe. 


Length, 9 feet 1084 inches; width, 8 feet 1 inch. 


246—EIGHTEENTH CENTURY ITALIAN VELVET TABLE COVER & 4@Ze,. ot 


y Rectangular shape. Of red velvet, with scrolled palmette- 
Sas shaped decorations at the angles embroidered in gold thread and 
a border of gold galloon. 


Length, 9 feet 1 inch; width, 8 feet 2 inches. 


247—SEVENTEENTH CENTURY ITALIAN Damask ‘TABLE COVER caer a 
Rectangular shape. Of green damask patterned with a small 
¥ co ra diapered design of pomegranates and leaves enclosed in scrolled 


medallions. 
Length, 9 feet 4 inches; width, 8 feet 4 inches. 


248—SEVENTEENTH CENTURY ITALIAN SILK DAMASK ‘TABLE COVER 


ed 


Rectangular shape. Of red silk damask with small diapered 


pattern. Finished with red silk fringe. V Lencpeuat 


Length, 9 feet 2 inches; width, 8 feet 10 inches. 


Second Afternoon 


249—EIGHTEENTH CENTURY ITALIAN VELVET TABLE CovERg, B 
Lo Rectangular shape. Of red velvet, with double border of gold 7 
galloon. : 
Length, 10 feet; width, 8 feet 284 inches. 


250—EIGHTEENTH CENTURY VENETIAN BROCATELLE TABLE COVER 


Rectangular shape. Of blue silk brocatelle patterned with a 4, Di 

(400 diaper of floral sprays green, yellow, and rose color. Finished 
with a yellow silk fringe. 

; Length, 10 feet; width, 9 feet 934 wches. 


251—EIGHTEENTH CENTURY ITALIAN VELVET TABLE COVER 


4/0- Rectangular shape. Of red velvet with border of gold galloon. 
Finished with gold fringe. 
Length, 10 feet; width, 6 feet 8 inches. 


252-—SEVENTEENTH CentTURY FLORENTINE BrocaTELLE BrpspREAD 
a/o- Rectangular shape. Of red silk brocatelle patterned in a de-— 
sign of vases of flowers and entwined foliage. | 


Length, 10 feet 4 inches; width, 9 feet 8 inches. 


253-——SEVENTEENTH CENTURY IraLian VELVET PorTIERE GQ 
/ SZ 0- Rectangular shape. Of red velvet paneled and bordered with / 
gold galloon. Finished with knotted gold fringe. 


Length, 7 feet 6 inches; width, 4 feet 7% inches. 


ad 


\ et OP BR _ = 
254-—SEVENTEENTH CENTURY Iratian Larce PortierE J. Jew Ge 


i 


7 ¢/f — Rectangular shape. Of crimson velvet bordered with wide gold 
Ai galloon and finished with a tasseled fringe. 


Length, 11 feet 3 inches; width, 8 feet 8 inches. 


Second Afternoon 


255—SEVENTEENTH CENTURY ITALIAN LARGE VELVET TABLE COVER 
re, yr 20% Rectangular shape. Of red velvet with border of wide gold 
galloon. Finished with gold looped edge braid. QV eg ema<e ag 


Length, 21 feet 384 inches; width, 11 feet 6 inches. 


256—SEVENTEENTH CENTURY ITALIAN VELVET TABLE COVER 2 


Al a-S Rectangular shape. Of red velvet, with sunken patterning 4 


stars and scrolls surrounded by a double border of gold galloon. 


Length, 13 feet; width, 6 feet 834 inches. 


257—SEVENTEENTH CENTURY ITALIAN VELVET TABLE COVER zy ,, 


Yoo- Rectangular shape. Of blew du roi velvet, with designs at the a AE. pe 


corners of baskets of fruit embroidered in gold thread and 
colored silks and surrounded by interlacements of gold galloon. 


Length, 7 feet 10 inches; width, 5 feet 51 inches. 


258—SEVENTEENTH CENTURY ITALIAN VELVET CUSHION 


2 F- Rectangular shape. Of a bleu du roi velvet with gold bérde1 


Length, 2 feet 5°84 inches; width, 1 foot 71% inches. 


259— SEVENTEENTH CENTURY ITALIAN VELVET COVER 


eee Cher ate 
Similar to the preceding. Rectangular shape. Of light blue 7 
$00 velvet bordered with gold galloon and lined with red silk. 


Length, 10 feet 11 inches; width, 6 feet 2 inches. 


2960—SEVENTEENTH CENTURY ITALIAN VELVET COVER 


“Ee Similar to the preceding. Rectangular shape. Of light blue 
velvet bordered with gold galloon and lined with red silk. Y%@z. gucak 


Length, 10 feet 9 imches; width, 6 feet. 


Second Afternoon 


261—SEVENTEENTH CENTURY ITALIAN VELVET CovER 7/ @, | gece. cos 7 
Sn0- Similar to the preceding. Rectangular shape. Of light Blue = 
velvet bordered with gold galloon and lined with red silk. a 

Length, 10 feet 9 inches; width, 6 feet. 


262—SEVENTEENTH CENTURY ITALIAN VELVET COVER UAE ape 
yj-Suilar to the preceding. Rectangular shape. Of light bitte  - 
velvet bordered with gold galloon and lined with red silk. a 
Length, 10 feet 9 inches; width, 6 feet. 


263—SEVENTEENTH CENTURY IraLIaAn VELVET COVER ~ 
SO00- Similar to the preceding. Rectangular shape. Of light blue 
velvet bordered with gold galloon and lined with red silk. 


Length, 10 feet 9 inches; width, 6 feet. 


264_SEVENTEENTH CENTURY ITaLIAN VELVET COVER y4, 2 o- 
/ )300-Smiuar to the preceding. Rectangular shape. Of light blue 
velvet bordered with gold galloon and lined with red silk. 


Length, 10 feet 9 inches; width, 6 feet. 


265—SEVENTEENTH CENTURY ITALIAN VELVET COVER Z2. Z 
/00-— Similar to the preceding. Rectangular shape. Of light blue 
velvet bordered with gold galloon and lined with red silk. 


Length, 10 feet 9 inches; width, 6 feet. 


266—SEVENTEENTH CENTURY ITaLIAN VELVET CovER zy, 


4 @00— Similar to the preceding. Rectangular shape. Of light blue 
velvet bordered with gold galloon and lined with red silk. 


Length, 10 feet 9 inches; width, 6 feet. 


Second Afternoon 


267—SIXTEENTH CENTURY ITALIA . 
N VELVET TABLE COVER SG FP a 


SPd- Rectangular shape of blue velvet paneled and bordered with 
gold galloon. | 


Length, 7 feet 10 inches; width, 5 feet 51% inches. 


268—QuantiTy oF KicHTEENTH CenTurY Iranian Damask 4, — 


Green silk damask of a bold conventional design of earitnieo VA 
A G0- = 
leaf scrollings and large leaves. 


Length, 66 yards. 


269—Srx LENGTHS OF SEVENTEENTH CENTURY ITALIAN SILK 
DAMASK es 
Red silk damask patterned with bold design of flowers and 
acanthus-leaf scrolls. Each length finished with gold galloon 
and heavy gold and silk fringe. 
Each: Length, 24 feet; about 118 yards. 


270—Six Lenerus or EIGHTEENTH CENTURY ITALIAN SILK 
DAMASK 


/ 3h O- (fiom pocsnk 
hoy Red silk damask patterned with designs of large GAR an 


leaves and the coat-of-arms of the Borghese family. 


Each: Length, 24 feet; about 118 yards. 


271—QuaNTITY OF EIGHTEENTH CENTURY ITALIAN SILK DAMASK 


SS, : 
ee Pee 


S70- Red silk damask patterned with design of large scrolls Kee dD 


leaves and the coat-of-arms of the Borghese family. 


About 74 yards. 


272 QUANTITY OF EIGHTEENTH CENTURY ITALIAN SILK DAMASK 


? 


/lb- Red silk damask patterned with design of large scrolls and” Catgha Lome 


leaves and the coat-of-arms of the Borghese family. 


About 72 yards. 


« 


Second Afternoon 


2783—QUANTITY OF EIGHTEENTH CENTURY ITALIAN SILK DAMASK 


VE 


Gyy- Red silk damask patterned with design of large scrolls and 
¢ ~* lJeaves and the coat-of-arms of the Borghese family. 


About 36 yards. 


274—QUANTITY OF EIGHTEENTH CENTURY ITALIAN SILK Damask fe 
oe xe Q-Green silk damask patterned with small leaf design. VB. 


Length, 27 yards 1 foot. 


FURNITURE 


Not only in Painting, in Sculpture and in Architecture, but in 
such minor arts as that of the Furniture maker, did Renaissance 
Italy blaze the pathway which the rest of Kurope was to follow. So 
when Italian Furniture of the sixteenth and seventeenth centuries 
is brought into fellowship with French or English, or even our own 
American surroundings of kindred character, no inharmonious or 
jarring note is struck. 

While betraying his affection for those dignified and simple forms 
of a period when the mediaeval severity of the Gothic style still 
influenced the Italian designer, Professor Volpi has in his present 
collection been unfettered by the epochal limitations which constrained 
him while assembling the furniture for the Davanzati Palace. Rather 
has he desired to offer a comprehensive view of the art of the Italian 
Furniture maker throughout the centuries. 

Thus while, on the one hand, those earlier outputs of the work- 
shops of ‘Tuscany, Umbria, the North of Italy and Florence are 
represented to an extent possible only to so skilled and experienced a 
collector as Professor Volpi, there will also be found examples of 
the quaintly named Bambocci decorations of the seventeenth cen- 
tury Ligurian wood-workers, as well as those products of luxury- 
loving Venice of the eighteenth century when the work of her carvers 
and lacquerers was the world’s admiration. 

Thus, too, while there are here to be seen Chairs, Credences and 
Cabinets, Benches and Cassoni, which rely for their effect upon the 
' exquisite carving or cunning inlay of their walnut with its bronze- 
like patina, there are not wanting examples of dignified armchairs 
which owe their unparalleled importance to the rare beauty of the 
petit-point embroidery with which their seats and backs are covered. 

It will therefore be seen that a wise and discriminating catho- 
licity is the dominant note of Professor Volpi’s present collection of 
Italian Furniture. 


Diels 


Second Afternoon 


FURNITURE OF THE SIXTEENTH, SEVENTEENTH AND 
EIGHTEENTH CENTURIES | 


275—SIXTEENTH CENTURY ITALIAN WaLtnut RvusH-BOTTOMED 


CuiLp’s CHAIR | Dredd: Apnea : it 
O- Open back with turned side supports, shaped, carved and. G4 


spindled splat. Turned legs with turned rails. Seat of woven 
rushes. 


276—SIXTEENTH CENTURY IraLtaAn Beecuwoop Monastery Crater Vd a 
Folding chair of straight beechwood splats with shaped and er 
Uf ~ incised head rail and cross stretcher feet. Pivoted so as to 


fold. 


Second Afternoon 


277— SIXTEENTH CENTURY ITALIAN BEECH Woop MoNASTERY CHAIR 


_-, Folding type. Formed of square supports pivoted and with 
“~< shaped head rail incised with radiating lines and square base 
rails. 
278— SIXTEENTH CENTURY [raLIAN BrEcHWoop MONASTERY CHAIR Le, 


ee _ Folding type. Formed of square supports pivoted and with 
shaped head rail and square base rails. 


we, 


Second Afternoon 


279—SIXTEENTH CENTURY UmpriAn WALNUT ARMCHAIR OQ Ig. 

Sgabello type. Triangular-shaped back, with sides set at an i 
angle, and top carved with voluted acanthus-leaf scrolls, the cen- 
ter with molded and imbricated vertical rib. Front support 
carved with voluted scrollings, shaped back support and pee 
seat with sunken center. 


/Ob- 


280—SIxXTEENTH CENTURY TuscAN WaLNuUT CHAIR _zy/ gy 
Sgabello type. Shield-shaped back, the sides carved with vo- 
/OQ- \uted scrolls, the top with acanthus leaves, the center with pear- 
shaped scrolled medallion. Front support carved with voluted 
scrollings and pear-shaped medallion. Octagonal seat, with 
molded edge on square pedestal and shaped back support. 


Second Afternoon 


281—-SIXTEENTH CENTURY .Tuscan WALNUT CHAIR 


Sgabello type. Shield-shaped back, the sides and top carved 2. 4» 27, 
/ 4 O- with voluted scrolls, the center with scrolled egg-shaped medal- 

lion. Front support carved with dolphins and acanthus leaves. 

Octagonal molded and carved seat and shaped back support. 


282—SIXTEENTH CENTURY UmBrian Watnut CHAIR 
; Pattee Coat: 
Sgabello type. Shield-shaped back, the sides and top carve W 


a %- with voluted acanthus leaves, the center with scrolled pear- 
shaped medallion. Front support carved with voluted acanthus 
leaves and bead festoons and ending in paw feet. Square 
molded seat and shaped back support. 


Second Afternoon 


A A at ale 6 NK Ot Se BE mene es 


283—Pair OF SIXTEENTH CeNTURY UmBriAn WALNUT CHAIRS 
Sgabello type. Triangular-shaped backs, the sides set at ane. @ 
angle, and tops carved with voluted acanthus-leaf scrollings, the 
J2o0- centers with molded and imbricated vertical rib. Shaped seats 
with sunken centers on square pedestals, vase-shaped front sup- 


ports and shaped back supports. 


Second Afternoon 
ae ee OOO rernoon 


284—Pair OF SIXTEENTH CENTURY TUSCAN WaLNuT CHAIRS Vad Ss 
Sgabello type. Triangular-shaped backs, the sides carved with —~ ili ke 
scrolled acanthus-leaf volutes set at an angle, the tops with 

J O- voluted acanthus leaves, the centers with molded vertical ribs. 
Molded octagonal seats on square pedestals, shaped front sup- 


ports and shaped back supports. 


Second Afternoon 


285—Pair OF SIXTEENTH CENTURY Umprian Watnut CuHatrs (4) 4% 
Sgabello type. Shield-shaped backs carved at sides and tops -) 
with voluted scrolls and in the center with scrolled medallions of 
& O0- oot-of-arms. Front supports carved with voluted scrolls and 
acanthus leaves. Octagonal seats with incised edges and shaped 


back supports. 
286—Pair or SIXTEENTH CenTURY UmpBrian WaLnut Cuairs 9 2, 3 


~na_ Sgabello type, with carved backs, wooden seats and carved 7 
front and back supports, carving lightened with gilding. 


Plat. 


Second Afternoon 


237—SIxTEENTH CENTURY UMBRIAN WaLNUT CHAIR "ide Poa 
: 2 C £we ZW 


LOb- 


Sgabello type. Shield-shaped back, and top carved with voluted 
scrolls, the center with acanthus leaves and fluted fan. Front 
support carved with dolphins and honeysuckle. Octagonal 
molded and carved seat and shaped back support. 


Second Afternoon 


288—Sert or THREE SIXTEENTH CENTURY TuUscAN WALNUT ARM- 
CHAIRS Bred. Mgrsr 4 ae . 
Square backs with gilded rococo scroll-carved finials, str font 7 
4/- molded arms with gilded acanthus-leaf carved supports, straight 
square legs, shaped and scrolled carved front rail and square 
cross bases ending in carved lions’ paws. Seats and backs up- 
holstered in red velvet, with silk galloon and heavy silk fringe. 


289—SetT oF THREE SIXTEENTH CENTURY TUSCAN WALNUg ARM- 
CHAIRS ae , 24 fe 


- J Py Pm 
e/ >. 1 ate 


Straight backs with carved and eiaeal PRO Roe finds, 

_straight arms with turned baluster-shaped supports, straight 
square legs with square back rails on straight cross bases. Seats 
and backs covered in old leather tooled in gold with an es- 
cutcheon and finished with silk fringe and ae brass-headed 
nails. 


Second Afternoon 


290—SET OF S#& SIXTEENTH CENTURY LIGURIAN WALNUT ARM- 


CHAIRS Gre. je Fen epee 
_ Square backs with acanthus-leaf carved finials, flat arms@vith 
turned baluster-shaped supports, turned legs with square side 
and back rails, and front rail carved with cherubs on voluted 
brackets flanked by rosetted acanthus-leaf scrollings. Seats and 
backs upholstered in red velvet finished with silk fringe and 
oval rosetted brass-headed nails. 


Fh. 0 


Will be sold with the privilege of the purchaser taking two, four 
or six chairs. 


291—Set or Srx SIxTEENTH CENTURY LicuRIAN WALNUT ARM- 
CHAIRS PPE 
Square backs with acanthus-leaf carved finials, flat io ms per ae 
turned baluster-shaped supports, turned legs with square side 
4 MW O- and back rails and front rail carved with cherubs on voluted 
brackets flanked by rosetted acanthus-leaf scrolling. Seats and 
backs upholstered in red velvet finished with silk fringe and oval 
rosetted brass-headed nails. 


Will be sold with the privilege of the purchaser taking two, four 
or stx chairs, 


HO0 -(2 704) ; at eh os iv + -? ; L/ 


\} 


Second Afternoon 


ns 


292—-P AIR OF SIXTEENTH CENTURY ITALIAN WALNUT CHAIRS 


Square backs with gilded acanthus-leaf carved finials, straight 
molded arms with turned baluster-shaped supports, turned legs 
~~ and square cross bases terminating in carved lions’ paws. Seats 
and backs upholstered in red velvet finished with yellow silk 


galloon and silk fringe. 


Second Afternoon 


293—SeEtT oF SIX SIXTEENTH CENTURY ITALIAN WaLNutT ARM- 
CHAIRS 


Square backs with reeded and voluted finials, ne arms 

SH b- on turned baluster-shaped supports, straight square legs with 
square side rails, and front rails pierced and carved with scroll- 
ings. Seats and backs covered with red velvet finished with oval 
brass-headed nails. 


Will be sold with the privilege of the purchaser taking two, four or 
six chairs. 


294—P air OF SIXTEENTH CentTURY Ligurian WALNUT ARMCHAIRS : 
Straight square backs with gilded acanthus-leaf carved finials eae Zo 
flat arms on turned baluster-shaped supports, straight turned 

J &0- \egs with square side and back rails and front rail carved in low 
relief with panel of scrolled acanthus leaves. Seats and backs 
covered with leather finished with double rows of brass-headed 
nails. 


295—P air OF SIXTEENTH CENTURY LIGURIAN WALNUT ARMCHAIRS ; 
Straight square backs with gilded acanthus-leaf carved Anite A AGA 
flat arms on turned baluster-shaped supports, straight turned e 
e legs with square side and back rails and front rail carved in 
low relief with panel of scrolled acanthus leaves. Seats and 
backs covered with leather finished with double rows of brass- 


headed nails. 


rhe if 


Second Afternoon 
ey 


296—PairR oF KIGHTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS 


Square backs with gilded acanthus-leaf carved finials, flat 
straight molded arms with turned baluster-shaped supports, 
0 A O- straight square legs and straight cross bases ending in lions’ 
paw feet. Seats and backs upholstered in red silk damask fin- 

ished with silk galloon and deep silk fringe. 


Second Afternoon 


297—Pair OF SIXTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS 5 
Straight square backs, gilded and carved finials, straight molded 14 BW SMe 
Zz O- ams, with turned baluster-shaped supports, straight square legs 
with square cross bases having carved paw terminations. Seats 
and backs covered with Hungarian point embroidery in col- 
ored silks secured with large brass-headed nails and finished with 


silk fringe. 


Second Afternoon 


78 (a 


WaLNut ARMCHAIRS {a ey 


ae we. 


Shield-shaped backs pierced and carved with rococo scrollings, 
shells and flowers, curved voluted arms on scrolled supports 
carved with flowers, serpentine seat fronts pierced and carved 
with rococo scrolls and shells and cabriole legs carved with 
flowers at the knees. The frames are gilded and painted, 
with the flowers and leaves in natural colors. Seats and backs 
upholstered in red velvet. 


One with the privilege of other. 


Second Afternoon 3 


299—SrEt or See EIGHTEENTH CENTURY VENETIAN CARVED AND 

7 PaInTeD WALNU1 SEU E 2p NUROISENIES PBL, ae rg 

Shield-shaped backs carved with scrolls and floral sprays, C 
curved and voluted arms on curved supports, serpentine seat 
_ fronts carved with floral sprays and voluted cabriole legs. 
260 - Frames painted yellow, heightened with gold and with floral 
sprays in colors. Seats and backs upholstered in yellow silk 

damask. 


Will be sold with the privilege of the purchaser taking .two, four 
or six chairs. 


D0 - 
a 747A Jf Armchacre 4S Pps 


~ Second Afternoon 


300—SET OF~S#=- KIGHTEENTH CENTURY VENETIAN CARVED’ AND 
PAINTED WALNUT SMALL ARMCHAIRS gpg Ghar 


Shield-shaped backs carved with scrolls and floral sprays, curved 
/ ~~ and voluted arms on curved supports, serpentine seat fronts 
carved with floral sprays and voluted cabriole legs. Frames 
painted yellow, heightened with gold and with floral sprays in 
colors. Seats and backs upholstered in yellow silk damask. 


Will be sold with the privilege of the purchaser taking two, four 
or six chairs. 


301—SEtT oF Six SIXTEENTH CENTURY ITALIAN WALNUT ARM- 


CHAIRS ye 
Square backs with reeded and voluted finials, straight flat ms 
BHO- on turned baluster-shaped supports, straight square legs with 
square side rails and front rail pierced and carved with scroll- 
ings. Seats and backs covered with red velvet finished with oval 
brass-headed nails. 


Will be sold with the privilege of the purchaser taking two, four 
or six chairs. 


*COA-Chiinel2) 0, Kern age. 
bs — 300 ee Mae 


A FO - 


TWA. AM, PprKir. 


Second Afternoon 


802—SIXTEENTH CENTURY ITALIAN BEECH Woop MonasTERY CHAIRG IT, ¢ Ze 


32 — Folding type. Formed of square supports pivoted and with 
shaped and incised head rail and square base rails. 


3083—SrxTrentH Century [raniAN BEeEcHWwoop MONASTERY CHAIR : 
Folding type. Formed of square supports pivoted and with CLL valle 


ond ail inc a ihe: 
shaped head rail incised with concentric circles and square base 
rails. : 
304— SIXTEENTH CENTURY ITALIAN BEECH Woop Monastery CHAIR go , __ 


| 


fe Folding type. Formed of square supports and with shaped and 
incised head rail and square base rails. 


5— y : ane 
305—SIXTEENTH CEentTuRY [ITALIAN BEECHWoop MONASTERY CHAIR Lape leiy me; 


7722 Folding type. Formed of square supports pivoted and with 
shaped and incised head rail and square base rails. 


306—SIXTEENTH CENTURY ITALIAN BEECHWoop Monastery CHAIR @ ¢]> 


VWs- Folding type. Formed of square supports pivoted and with ~~ eres 
_ Shaped and incised head rail and square base rails. 


307—SEVENTEENTH CENTUY ITALIAN WALNUT ARMCHAIR 
; Straight square back with carved and gilded finials. Straight _ 
Sf “Loe shaped arms on square supports, straight square legs on square. is POS PP 
front-and side rails. Seat and back covered in leather secured 
by brass-headed nails and finished with green silk fringe. 


308—Pair oF SIXTEENTH CENTURY ITALIAN WALNUT SIDE CHAIRS 
Square backs with gilded acanthus-leaf carved finials, turned.” 

JH Z-— baluster-shaped legs, square side rails and shaped front and 

back rails. Seats and backs covered with Hungarian point 

embroidery in colored silk finished with oval brass-headed nails. 


309—SIXTEENTH CENTURY ITALIAN WALNUT Anmcnan’ (a Pae, ; 
Straight square back with carved and gilded finials. Straight mi 
/ A O- arms on turned supports, straight square legs and carved front 
rail. Seat and back covered with red velvet. 


Second Afternoon 


310—Parr or EIGHTEENTH CENTURY VENETIAN CARVED AND 


GILDED WaLtnut ARMCHAIRS fC of COindon 


Shield-shaped backs carved with rococo scrollings, curved and 
vA pe J voluted arms on_ scrolled supports, pierced, carved and 
scrolled serpentine seat fronts and carved cabriole legs. Seats 

and backs upholstered in red velvet. Frames completely gilded. 


Second Afternoon 


311— EIGHTEENTH CENTURY VENETIAN WALNUT LARGE ARMCHAIR 

Shield-shaped back carved with rococo scrollings, curved and& J. Kb t12 Mtr 
3I- voluted arms on scrolled supports, pierced, carved and 

scrolled serpentine seat front and carved cabriole legs. Seat 

and back upholstered in red velvet. Frame completely gilded. 


Second Afternoon 


312—HIGHTEENTH CrenTURY VENETIAN WaALNUT CHANCEL CHAIR 


Carved scrolled arms, with carved scrolled crossed supports ane 

Vy pewith shaped head rail. Upholstered in red velvet finished with 
brass-headed nails and silk fringe. Velvet-covered loose 
cushion. 


Second Afternoon 


318—SIXTEENTH CENTURY ITALIAN CARVED AND GILDED WALNUT 
Cuam LES Say 
Of Dantesca shape with reverse curve legs and arms molded and 
A. 0-carved with acanthus leaves, volutes, and with a carved acanthus- 
leaf rosette at the intersection.. Completely gilded with loose 
red velvet cushion embroidered in gold and colored silks. 


yew fs 


—- 


i . 


Second Afternoon 


314— EIGHTEENTH Ganere VENETIAN WALNUT ECCLESIASTICAL 


LECTERN O Barrel 
SLL Tripod support, with pierced center profusely carved with Z 
rococo scrollings, volutes, shells and acanthus leaves. Shield- 
shaped book-rest framed with carved rococo scrollings and 
mounted with red velvet. The whole completely gilded. | 


Height, 4 feet 3 inches; width, 2 feet. 
(Illustrated) 


315—EIGHTEENTH CENTURY VENETIAN WALNUT ECCLESIASTICAL 4 

LECTERN ZB Bernt ZB a 

Cross side supports carved with rococo scrollings and acanthus a 

3 leaves with molded ball-shaped finials and five crossbars elahor- q 

GO- ately carved with rococo scrollings, shells, acanthus leaves and 

winged cherub. Mounted with leather book-rest tooled in gold 

with Sacred Monogram and border. The whole completely 
gilded. 


Height, 5 feet 7 inches; width, 1 foot 114% inches. 
(Illustrated) 


PIE “ON 


ST§ ‘ON 


Second Afternoon 


316—SIXTEENTH CENTURY ITALIAN CARVED AND GILT Woop FRAME ae 
¢, 


Rectangular shape. The outer molding carved with an egg and ~ 

i 0- dart, the inner molding with a leaf patterning, the flat fascia 
between painted with Raphaelesque arabesques of vases of 
flowers, sphinxes, Putti and festoons. 


Height, 3 feet 3 inches; width, 2 feet 6 inches. 


Second Afternoon 


317—SIXTEENTH CENTURY VENETIAN CARVED, PIERCED, GILT AND 
PatntED Woop FRAME B. 


Rectangular shape. Outer molding carved with a pattern of 


| 74 $2 overlapping pointed leaves and inner molding with acanthus 


leaves. The fascia is divided into two parts, the outer one being 
flat and carved with acanthus-leaf scrollings and flowers, the 
inner one carved and pierced with spirally twisted acanthus 
leaves with branches of leaves and flowers. Moldings and carv- 
ings painted and gilded. 


Height, 4 feet 7 inches; width, 4 feet 3 inches. 


Second Afternoon 


318—SIXTEENTH CENTURY TuscAN WALNUT SMALL COFFER 


Rectangular shape. Sunken paneled and molded lid carved 
with guilloche patterning and astragalled flutings. Frieze 
carved with acanthus-leaf modilions. Recessed front of a single~™**®- Ss 
W/E panel, surrounded by a molding carved with banded quatre- 
foils, acanthus leaves and flutings, and flanked by two wide 
pilasters, the shafts, paneled with water leaf carved moldings, 
occupied by scrolled cartouches supported on acanthus leaves. 
Molded base carved with acanthus-leaf and strapped ovolo pat- 
ternings. On carved dolphin feet. ; 


Height, 1 foot 8 inches; width, 1 foot 5 inches. 


Second Afternoon 


819—EIGHTEENTH CENTURY VENETIAN WALNUT TABLE~ Mad ve ap 


Rectangular molded top with frieze molded, carved and pierced 
with C€ scrollings and festoons and pendants of flowers and 

ow 60-\eaves. Square tapering legs, the fronts and sides with sunken 
molded panels occupied with carved husk pendants; carved, 
voluted and ball feet. 


vy 
Prue 


Height, 2 feet 7 inches; length, 3 feet 10 inches; width, 8 feet. 


Second Afternoon 


320—SIXTEENTH CENTURY Tuscan Watnut Writine Desk, 
Rectangular shape. Flat top, with molded edge sunpaneted 
voluted, projecting side brackets and fitted with two drawers 
SPIE ‘having plain fronts and wooden knobs. Body arranged as a % 
cupboard with two paneled hinged doors having bronze looped 4 : 
swing handles. Molded base. | 


Height, 2 feet 10 inches; width, 3 feet 4 inches; depth, 2 feet 1 inch. 


a tied, 


LL LN 


a 
’ 


Second Afternoon 
Ree ee 8  CCONa Ayiernoon 


IRR Sai eG PSE 0 Ce oH 


it aie wie eis 


321—SIXTEENTH CentTuRY Tuscan WaLnour CaBINET _ as 

Rectangular shape. Molded and fluted top supported By 
voluted medallions with incised fronts. The body is flanked 

A, 60-* the angles by turned Doric columns and by projecting 
pilasters with shafts of youthful caryatids, having imbricated 
and voluted terminations, and is formed as a cupboard by two 
hinged doors paneled with raised moldings and with wooden 
knobs. On molded base and lions’ paw feet. 


Height, 3 feet 8 inches; width, 5 feet 101% inches; depth, 2 feet 
2 inches. 


Second Afternoon 


3822— SIXTEENTH CENTURY ‘Tuscan WaLNuT TABLE Tete K nuns 
Rectangular shape. ‘Top with molded and fluted edge, apron 
ys 7g Aivided into two drawers with wooden knobs separated and 


flanked by triglyphs. Supported on four Ionic fluted and astra- 
galled columnar legs with square rails and turned feet. 


Height, 2 feet 1114 inches; length, 3 feet 6 inches; width, 3 feet 6 inches. 


2 asa ee eee 


Second Afternoon 


323—SIXTEENTH CENTURY Tuscan Wa.tnut TaBLe “ ¢ i Zee 
Rectangular shape. Molded and dentelled top, with apron di- vi 
vided into two drawers with paneled fronts, wooden knobs 
separated and flanked by carved voluted brackets. Supported 
4 &/- on four turned bell-shaped legs having square sunken panel 
dies above and below and connected above by shaped, scrolled 
and voluted apron, below by molded shaped, scrolled and vo- 
luted rails. On turned feet. 


Height, 2 feet 614 inches; length, 4 feet; width, 1 foot 11%4 inches. 


Second Afternoon 


324—SIXTEENTH CENTURY Tuscan CarvepD WaLNUT COFFER 

Rectangular shape. Sunken paneled and molded hinged lid. 
Front divided by four pilasters with molded capitals and bases _ 
and paneled fronts carved with rinceaux of foliage springing 

é.}/0- from fluted vases, into three panels with guilloche and acan- — 
thus-leaf carved moldings. Carving heightened with gilding. 
Molded and carved paneled sides and molded base carved in 
a water-leaf patterning. 


Height, 1 foot 81% inches; length, 6 feet 254 inches; width, 1 foot 
11 anches. . 


(Illustrated) 


325—SIXTEENTH CENTURY TUSCAN CARVED WALNUT COFFER 


Rectangular shape. Sunken paneled and molded hinged lid. 
Front divided by four pilasters with molded capitals and bases 
Pie and paneled fronts carved with rinceaux of foliage springing 
from fluted vases, into three panels with guilloche and acan- 
thus-leaf carved moldings. Carving heightened with gilding. 
Molded and carved paneled sides and molded base carved in 
a water-leaf patterning. | 


Height, 1 foot 81% inches; length, 6 feet 234 inches; width, 1 foot 
11 anches. 


826—SIXTEENTH CENTURY FLORENTINE WALNUT COFFER 


Rectangular shape. Molded and dentelled hinged lid. Front 
divided into two panels with moldings carved with guilloche 

ane patterning and acanthus leaves by three pilasters with water- 
leaf carved capitals and bases and paneled shafts, the center 
one occupied by a scrolled and voluted escutcheon with an oval 
coat-of-arms, the side ones with female masks surrounded by 
voluted scrolls. Molded base carved with curved gadroons and 
three leaf-carved pedestal feet. 


Height, 2 feet; length, 5 feet 10 inches; width, 2 feet. 
(Illustrated) 


RACALUMOR 


SEES 


ro - 


RETR EREAR 


UatHOD) LON IVA ANILNAYOTY AYMLNAT) HLNAALXIG— GER “ON 
waattOr) LONTVAA CGAAUVT) NVOSO YT, AVON) HLINAALXIS— PGE “ON 


NOR 


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pawn 


Stokst 
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aay. 


oN A xX 
IS ISI 


BAG OLONOLOLDALOL 


CA ntl dme ad 


Cea aa tcc ie deste ae 


Second Afternoon 


3827—SEVENTEENTH CENTURY ITALIAN CARVED AND GILT Woop 
FRAME lord OTF 


Rectangular shape. The outer and inner moldings carved with 

6 2 0- strings of beads and gaufferings, the molded fascia with bands 
of oak leaves and acorns held by spirally twisted ribbons, with 
voluted scrolls and boldly scrolled acanthus leaves in the cen- 
ters and at the angles. Completely gilded. 


Height, 5 feet 2 inches; width, 4 feet 3 inches. 


Second Afternoon 


328—SEVENTEENTH CENTURY VENETIAN CARVED, PIERCED AND GILT 

Woop FRAME ELD ge SRP OTD 
Rectangular shape. Carved and pierced with voluted and 
scrolled acanthus leaves, in the centers with honeysuckles and 
scrolls and at the angles with voluted and scrolled trefoils. 
The inner frame is carved with bands of laurel leaves and beads. 
Completely gilded. 


A b l- 


Height, 6 feet 8 inches; width, 5 feet 6 imches. 


Note: This elaborately carved frame is the work of the celebrated 
Venetian wood carver Brostolone. 


Second Afternoon 


329—SEVENTEENTH CENTURY VENETIAN CARVED, PIERCED AND 


Gitt Woop FRAME Onaclhle 
Rectangular shape. ‘The inner molding is carved with a band 
SO$™ of Jaurel leaves secured by crossed ribbons. ‘The main frame 
is carved and pierced in a design of boldly scrolled acanthus 
leaves and loops of ribbonings. Completely gilded. 


Height, 7 feet 8 inches; width, 6 feet 1 mech. 


Second Afternoon 


330—SIXTEENTH CENTURY TUscAN WaALNuT TABLE 
Rectangular shape. ‘Top with molded edge and apron with 
Vy carved molded panel and rosette carved stiles. Supported on 
Cae four turned baluster-shaped legs with square side and end 
rails and ball feet. 


Height, 2 feet 10 inches; length, 5 feet 3 inches; width, 2 feet 11 inches. 


Second Afternoon 


331—Sixteentu Century Brescran Watnut Correr & LO, 

Rectangular shape with sunken paneled and molded hinged lid 

carved with a guilloche patterning. Frieze carved with voluted 

AKWS- acanthus-leaf scrolls, and front and sides divided into molded 

panels by six voluted and acanthus-leaf carved consoles. 

Molded base carved with astragalled flutings and guilloche and 
acanthus-leaf patterning. On four carved lions’ paw feet. 


Height, 2 feet 1 inch; length, 5 feet; width, 2 feet. 


Second Afternoon 


dag at, 


NRERRORER ORE 


332—SIXTEENTH CENTURY Brescilan WALNUT COFFER Ce 
Rectangular shape. Sunken paneled and molded hinged lid 
carved with guilloche patterning and secured by an iron lock 
with wrought key. Fluted and astragalled frieze, front di- 
vided by four acanthus-leaf carved and voluted consoles with 
45 5 S—three molded panels, sides with molded panels and wrought 
bronze carrying handles, and molded base carved with astra- 
galled flutings and guilloche patterning. On four carved lions’ 
paw feet. 


Height, 2 feet 1 inch; length, 5 feet 5 inches; width, 1 foot 11 inches. 


—— 


Second Afternoon 


nn nnn aaa EeEUE EES EES 


333 


SIXTEENTH CENTURY TUSCAN W.ALNUT CABINET 


Rectangular shape, with chamfered angles. Molded top. The 
frieze fitted with two molded panel-fronted drawers with 
turned knobs separated and flanked by voluted console brack- /@ 
ets having fronts carved with imbrications. Lower part fitted 
LO $- as cupboard, with two hinged doors having molded panel fronts 
and turned knobs, separated and flanked by tapering fluted 
and astragalled Ionic capitals. The angles decorated with 
two square panels and round-arched niche with carved apron. 


On molded base. 


Height, 3 feet 8 inches; length, 6 feet 514 inches; width, 1 foot 
1134 inches. 


Second Afternoon 


334— SIXTEENTH CENTURY TUSCAN WALNUT CABINET 


As F0- 


Rectangular shape. Molded and dentelled top, frieze fitted 
with two paneled front drawers with four wooden knobs, sepa- 
rated and flanked by dies carved with grotesque masks. Lower 
portion arranged as cupboards with two hinged paneled doors, 
carved with fluted moldings and large shells, separated and 
flanked by pilasters with shafts of turbaned and female carya- 
tids with voluted carved bodies and tapering terminations 
carved with trefoil and scroll patterning. Plain plinth, and 


-molded and water-leaf carved base. 


Height, 4 feet 5 inches; width, 6 feet 4 inches; length, 2 feet 2 inches. 


: 3 
RS at , 


= Yes 


7 


Second Afternoon 


2 Ad Grea Pie 


——— 1 a Ay if if va" cay * So : si 
3385—SIXTEENTH CENTURY TUSCAN WALNUT CABINET ADU... | lata Ade 


Rectangular shape of semi-hexagonal plan. Molded top, the 
body divided into two portions, the upper one fitted with 
drawer having paneled front inlaid in a strapwork pattern and 
paneled sides to correspond, the lower portion arranged as a 

A cupboard with hinged door having paneled front inlaid in a 
geometrical and strapwork pattern and with bronze loop swing 
handle and keyhole escutcheon. ‘The sides are paneled and 
inlaid to correspond, and at the angles are pilasters with paneled 
and inlaid fronts. On shaped bracket feet. 


Height, 2 feet 5 inches; width, 4 feet 7 inches; depth, 1 foot 5 inches. 


Second Afternoon 


Se arora 


seningnnsantnccresss asic terete te 


336—SIXTEENTH CENTURY TuscAN WALNUT CABINET (2 3, 
Rectangular shape, with serpentine sides. Molded and 
shaped top, with frieze inlaid in a geometrical patterning. 
Body arranged as cupboard, with two hinged doors having pan- 

J As f-eled fronts and wooden knobs and flanked by fluted and as- 
tragalled Ionic pilasters. Paneled serpentine sides. Fluted 
and astragalled plinth and molded base. 


= 


Height, 3 feet 8 inches; width, 6 feet 1 inch; depth, 2 feet 6 inches. 


Second Afternoon 


* 


337—SIXTEENTH CENTURY ITALIAN CARVED WALNUT COFFER (7, 
Rectangular shape. Molded and fluted hinged lid secured by 
contemporary lock and key. Front divided into two molded 
panels surrounded by molding carved in rosetted pattern with — 

Al, /2- acanthus-leaf angles, separated by stile carved with scrolled oval 
escutcheon and coat-of-arms and flanked by two molded panels 
enclosing male and female winged caryatids with voluted ter- 
minations. Molded base carved with voluted scrolls and acan- 
thus leaves and double scrolled feet. 


Height, 2 feet; length, 5 feet 8 inches; width, 1 foot 11 inches. 
(Illustrated ) 


338—SIXTEENTH CENTURY TuscAN WALNUT COFFER ¥ 
Rectangular shape. Molded and fluted hinged lid with con- 
temporary lock and key. Recessed front with one long panel, 
surrounded by a molding carved with guilloche patterning, 
J bo- acanthus leaves and flutings, and flanked by two paneled pi- 
a lasters with water-leaf carved moldings and shafts carved with 
female masks, having side draperies and volutes. Molded base 
carved with gold gadroons and acanthus leaves and double vo- 

luted scroll feet. 


Height, 1 foot 9 inches; length, 5 feet 3 inches; width, 1 foot 9 inches. 
(Illustrated) 


is 
17 | 


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Second Afternoon 


ec itm ae re a PC lala A A mC in A in a fei 


339—SIXTEENTH CENTURY FLORENTINE SMALL WALNUT TABLE ,, _ 


Rectangular shape. Heavy top with inlaid marble slab and ~~ 
a Gp- molded edge. Molded apron with two paneled front drawers 
~ having wooden knobs separated and flanked by shaped brackets. 
Supported at either end by lyre-shaped legs with shaped cross 
bases and longitudinal shaped stretchers. 


Height, 2 feet 7 inches; length, 2 feet 11 inches; width, 2 feet 24% mches. 


Second Afternoon 


ee eccuN rn CrentTuRY Tuscan WALNUT CABINET TABLE OQ cae PS oes 


Rectangular shape. Plain top supported at the ends on shaped 
crossed brackets. Frieze fitted with two drawers with paneled 

§ &, 4 —fronts and wooden knobs. Pedestal, which extends the length 
of the table, fitted with cupboard having hinged paneled door 
with wooden knob flanked by two panels molded to corre- 
spond. On shaped cross bases with voluted feet. 


Height, 2 feet 8 inches; length, 5 feet; width, 2 feet 6 ches. 


ae 


Second Afternoon 


341—SIXTEENTH CENTURY ‘TuscAN WALNUT TABLE Q Bs 
Rectangular shape. Plain top. Supported at either end by 

92, 4iluted and astragalled pedestals flanked by voluted and acan- 
thus-leaf carved consoles ending in lions’ paws on molded cross 
braces. Shaped and voluted longitudinal underbrace. 


Height, 2 feet 111% inches; length, 10 feet; width, 3 feet 4 inches. 


Second Afternoon 


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—842—SIXTEENTH CENTURY FLORENTINE WALNUT TABLE ISS FI or oe 
Rectangular shape. ‘Top with molded and fluted edge sup- 
3S 5 O-Ported at either end by lyre-shaped legs with deep shaped, 


pierced, voluted and carved longitudinal brace. 


Height, 2 feet 9 inches; length, 8 feet 21% inches; width, 2 feet 11 inches. 


S econd Afternoon 


343—FIrreEENTH CENTURY Tuscan Watnut Desk CaBINet ©, 


Rectangular shape, made in two parts. The upper part, with 
molded cornice supported by two fluted and astragalled Doric 
pilasters, is arranged as a cupboard with two hinged doors, 
each having a front with three molded panels, the upper and 
lower one with chamfered dies, the center one with shaped and 
molded and raised panels around a carved rosette. The lower — 
portion is arranged as a writing desk with paneled hinged fall 
front, having below two drawers with chamfered panels flanked 
by acanthus carved voluted modillions, two hinged doors and 
pilasters to correspond with those of the upper part. Molded 
base. | 


Height, 6 feet 2 inches; width, 4 feet 6 inches; depth, 1 foot 6 inches. 
| (Illustrated) | 


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No. 343—FIFTEENTH CENTURY Tuscan Watnut Desk CABINET 


344—SIXTEENTH CENTURY UMBRIAN WALNUT ARMOIRE P 7G Z, ocen Zbl 


Rectangular shape. Molded dentelled and egg-and-dart carved 
cornice with a rosette-carved frieze supported by two paneled 


3 pilasters having shafts decorated by incised paneling. Body 


arranged as a cupboard with paneled hinged doors. Molded 
and gadrooned base, and feet carved as couchant animals. 


Height, 7 feet 1 inch; width, 4 feet 11 inches; depth, 2 feet. 


THIRD AND LAST AFTERNOON’S SALE 
WEDNESDAY, DECEMBER 19, 1917 
AT THE AMERICAN ART GALLERIES 
BEGINNING AT 2.30 0’CLOCK 


Catalogue Nos. 346 to 521, inclusive 


CHAIRS OF THE SIXTEENTH, SEVENTEENTH AND 
EIGHTEENTH CENTURIES 


346—SIXTEENTH CENTURY ITALIAN WaLNuUT RUSH-BOTTOMED 
eae Pra. pn2..R fel Lg 
we Open back with shaped, incised and turned spindled splat, “ 4 


straight turned legs, shaped front rail and seat of woven rushes. S 


Third and Last Afternoon 


347-—SIXTEENTH CenTuRY ITALIAN BEEcCHWoop Monastery CHAIR» 
- Folding type. Formed of square supports and with shaped £2 
head rail incised with radiating lines and square base rails. 


348—SIXTEENTH CENTURY ITALIAN BEECHWOOD MONASTERY CHAIR 


Fe Folding type. Formed of square supports and with shaped — 
head rail incised with radiating lines and square base rails. 


349—SIXTEENTH CENTURY ITALIAN BEECHWOOD MONASTERY CHa. dl 


2, S@- Folding type. Formed of square supports pivoted and with 
shaped and incised head rail and square base rails. 


Third and Last Afternoon 


3850—SIXTEENTH CENTURY ITALIAN BEECH Woop MonastTERY CHAIR ~~ _ 


2, g—Folding type. Formed of square supports pivoted and with ae” 


shaped and incised head rail and square base rails. 


3851—SIXTEENTH CENTURY ITALIAN BEECHWOOD MONASTERY CHAIR 


ZO- Folding type. Formed of square supports pivoted and minedod: Bf elle, 
shaped head rail incised with radiating lines and square base 


rails. 


SIXTEENTH CEentTURY ITALIAN BEECHWoop MonasTERY CHAIR ~~ 
Folding type. Formed of square supports pivoted and with APNEA Ats 5 
shaped head rail incised with figure of a cross and square base 


rails. 


352 


Third and Last Afternoon 


353—SIxTEENTH CENTURY TaTLIAN WaLnuT ARMCHAIR & Pe LB 
Straight back with gilded acanthus-leaf carved finials, straight 
molded arms on turned baluster-shaped supports, straight 
J F- — square legs, square back rail and cross bases. Seat and back 
covered with leather gold-tooled in a design of diamond me- 
dallion and floral diaper. Finished with silk fringe and large 
brass-headed nails. 


354—Palr OF SIXTEENTH CENTURY ITALIAN WALNUT SIDE CHAIRS CF z 4 
| Square backs with square side supports and acanthus-leaf an 
pb vy - carved finials, straight legs, scroll-carved front rails and square 
side rails. Seats and backs covered with leather secured by 

large brass-headed nails. | 


<e oP 


Third and Last Afternoon 


355—SIXTEENTH CENTURY TuUscAN WALNUT ARMCHAIR yee KL 
r 


i Na 


Straight back with gilded acanthus-leaf carved finials,Gstraight 
arms on turned baluster-shaped supports, straight square legs 
with square back rail and square cross bases. Seats and backs 
covered in old leather gold-tooled with an escutcheon and _ bor- 
der. Finished with silk fringe and large brass-headed nails. 


356—Pair OF SIXTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS SISO? 


.//72- 


Straight backs with gilded acanthus-leaf carved finials, straig] 

molded arms on turned baluster-shaped supports, straight 
square legs with square back rails and square cross bases. Seats 
and backs covered with leather gold-tooled in a geometrical pat- 
tern. Finished with green silk fringe and large brass-headed 


nails. 


Third and Last Afternoon 


357—SIXTEENTH CENTURY FLORENTINE WALNUT SIDE CHAIR ©& 


Open back with gilded acanthus-leaf carved finials, shaped 
carved and turned spindled slat with incised carving height- 

3— ened in gold. Straight square legs with shaped and pierced 
front rail upholstered in cut velvet with yellow ground pat- 
terned in blue. Finished with silk fringe. 


858—SixteentH Century Tuscan Watnut Swe Coa (9, 46224, 
Open back with carved and shaped horizontal splat, and head | 

we 4 Yail and gilded acanthus-leaf carved finials, straight legs with 7 
~ shaped and pierced front rail. Seat upholstered in cut velvet 4 
with silk fringe. 


Third and Last Afternoon 


~859—Set or Four SrxteentH Century Iratian Watnut Arm- 
CHAIRS 
Straight square backs with acanthus carved finials and arcaded 
JO O- head rail supported by six spindles turned in baluster form. 
Molded wooden seats with arcaded apron and supported by 
turned spindle, straight square legs and square front rails. 


Will be sold with the privilege of the purchaser taking two or four 
chairs. 


360—SEVENTEENTH CrnTUuRY Irarian Watnut ArmcHarr (f/ @, 
Straight open back with curved side supports, carved finials 
ffO- and horizontal shaped splats with incised scrollings. Straight 
molded arms, wooden seat with shaped incised apron, straight 
square legs, shaped and incised front rail and square side and 


back rails. 


Third and Last Afternoon 


* i 


361—Sert or Srx SIxTEENTH CENTURY UMBRIAN WALNUT ARM- 
- CHAIRS | of 
Straight open backs with square side ut A 
shaped finials, shaped head rails, carved with the coats-of-arms 
, of the Vitelli family surmounted by Bishops’ Hats, horizontal 
Jo ot O- splat and turned spindles. Straight flat arms with turned 
baluster-shaped supports, straight square legs and side rails, 
and shaped and pierced front rails. Wooden seats with loose 
cushions covered with silk brocade. 


Will be sold with the privilege of the purchaser taking two, four 
or six chairs. 


362—SIXTEENTH CENTURY VENETIAN WALNUT ARMCHAIR gyag g. 
Square back with gilded acanthus-leaf carved finials, straight 
flat arms on straight square supports, straight square legs, 

Wik ee square side rails and front rail carved and gilded with coat-of- 
arms of the Giustiniani family flanked by panels with incised 
scrolling. Seat and back covered in red velvet with red silk 
fringe. 


of 4 


Third and Last Afternoon 


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_363—SIXTEENTH CENTURY LicuRIAN WALNUT ARMCHAI Ty, 
Straight square back with gilded acanthus-leaf carved finials, 
flat arms on turned baluster-shaped supports, straight turned 

wd 3 O— \egs with square side and back rails and front rail carved in low 
relief with panel of scrolled acanthus leaves. Seat and back 
covered with leather finished with double rows of brass-headed 
nails. 


364— Pair OF SIXTEENTH CENTURY LIGURIAN WALNUT ARMCHAIRS 
| Straight square backs with gilded acanthus-leaf carved finials, 7722, O., 484° 
Va flat arms on turned baluster-shaped supports, straight turned 
AO legs with square side and back rails and front rail carved in 
low relief with panel of scrolled acanthus leaves. Seats and 
backs covered with leather finished with double rows of brass- 
headed nails. 


Third and Last Afternoon 


3865—Set oF THREE EIGHTEENTH CENTURY VENETIAN WALNUT 


700 


AND PETIT-POINT ARMCHAIRS Ptr 


Square arched backs with molded curved and voluted arms on 
curved molded supports, curved molded and voluted legs, with 
voluted side rails and carved voluted stretchers. Seats and 
backs covered with Italian petit-pomt embroidery in designs 
of boldly scrolled acanthus leaves, bouquets of flowers and 
leaves in natural colors on dark grounds. Surrounded by bor- 
ders of spiral ribbon patterning and finished with rows of 
scrolled and round brass-headed nails and silken fringe. 


Will be sold with the privilege of the purchaser taking two or three 
chairs. 


Third and Last Afternoon 


366—SEVEN EIGHTEENTH CENTURY VENETIAN WALNUT ARMCHAIRS 47 > _, 


Shield-shaped backs, with molded frames carved with floral — Yeh amrlas 


, sprays, curved and molded arms and supports. Serpentine 
ob 77 seat fronts, molded and carved with flowers and molded cabri- 
ole legs. Seats and backs upholstered in red silk damask. 


The buyer to have the privilege of taking one chair or the set. 


Third and Last Afternoon 


3867—-Neexe EIGHTEENTH CENTURY VENETIAN WALNUT ARMCHAIRS 


Shaped upholstered backs with curved molded and voluted © 
arms on curved supports, cabriole legs with acanthus leaves, 
carved knees, and curved cross stretchers. Seats and back 
covered with Italian petit point embroidery in “Gobelin” 
stitch and in colored silks. ‘The backs with a design of a 
vase of flowers, standing on a classic pedestal, looped up dra- 
pery with tassels and scattered flowers, the seats with a design 
of flowers and leaves and a rocky foreground. All in rich 
colors on a cream-colored ground. Edged with silk galloon 
and finished with silk-tasseled fringe and with old stained-leather 
loose coverings. 


600 


The buyer to have the privilege of taking one chair or the set. 


LZ 00- 


Third and Last Afternoon 


A 


368—NiInE HIGHTEENTH CENTURY VENETIAN WALNUT ARMCHAIRS 


Shaped upholstered backs with curved molded and voluted 
arms on supports, cabriole legs with acanthus-leaf carved knees, 
and curved cross stretchers. Seats and backs covered with 
Italian petit point embroidery in “Gobelin” stitch and in col- 
ored silks. The backs with a design of Minerva seated under 
a tree holding a wreath and handing her helmet to a female 
attendant, the seats with a figure of Minerva seated. All in 
rich colors on a cream-colored ground. Edged with silk gal- 
loon and finished with silk-tasseled fringe and with old stained- 
leather loose coverings. 


The buyer to have the privilege of taking one chair or the set. 


-f. 
), LO ~ 


Third and Last Afternoon 


aoe EIGHTEENTH CENTURY VENETIAN WALNUT ARMCHAIRS j 
Shaped upholstered backs with curved molded and voluted VCs pa q 
arms on curved supports, cabriole legs with acanthus-leaf 

| carved knees, and curved cross stretchers. Seats and backs 

6 A 0- covered with Italian petit-point embroidery in “Gobelin”’ stitch 
and in colored silks. The backs with a design of a bright- 
plumaged bird perched on the bough of a tree overhanging a 
pool of water at the side of which is a duck, in the background 
a parrot and butterflies, the seats with a design of a couchant 
dog, flying birds and a distant building. All in rich colors on 
a light-colored ground. Edged with silk galloon and finished 
with silk-tasseled fringe and with old stained-leather loose 
coverings. 


The buyer to have the privilege of taking one chair or the set. 


“7 
ai 0—Nine EIGHTEENTH CENTURY VENETIAN WALNUT ARMCHAIRS 
Shaped upholstered backs with curved molded and voluted a ee : 


arms on curved supports, cabriole legs with acanthus-leaf carved 
knees, and curved cross stretchers. Seats and backs covered 
with Italian petit-point embroidery in “Gobelin” stitch and 
in colored silks. ‘The backs with a design of a festoon of 
flowers, including peonies, tulips and carnations, tied with rib- 
bons and with a parrot perched thereon and having a fore- 
ground of foliage and fruits, the seats with a bouquet of large 
brilhantly hued flowers tied with a knotted ribbon. All in 
rich colors on a light-colored ground. Edged with silk galloon 
and finished with silk-tasseled fringe and with old stained-leather 
loose coverings. 


30 0 oo 


The buyer to have the privilege of taking one chair or the set. 


371—Pair OF SIXTEENTH CENTURY Tuscan WALNUT ARMCHAIRS | 
Straight backs with carved and gilded acanthus-leaf finials}/f22..0~ wy} 

2 straight arms with turned baluster-shaped supports, straight i 
/ & O- square legs with square back rails on straight cross bases. Seats 
and backs covered in old leather tooled in gold with an escut- 

cheon and finished with silk fringe and large brass-headed nails. 


Third and Last Afternoon 


372—SIXTEENTH CENTURY FLORENTINE WaLNut RouUNDABOUT 


ARMCHAIR | et 2, 
Shaped upholstered back with curved molded te voluted“arms 
on curved supports, cabriole legs with acanthus-leaf carved 
knees, and curved cross stretchers. Seat and back covered with 

“3 OC - Italian petit-point embroidery in “Gobelin” stitch and in 
colored silks. The back with a design of a stone fountain with 
falling water, on the basin of which are perched two doves 
drinking, a blue sky, a tortoise and butterflies. ‘The seat with 
a design of a squirrel and flowers, a rocky foreground and blue 
sky. All in rich colors on a light-colored ground. Edged with 
silk galloon and finished with tasseled silk fringe and with old 
stained-leather loose coverings. 


373—Parr or SixteEENTH CenTuRY LiguriAN WALNUT ARMCHAIRS 
Straight square backs with gilded acanthus-leaf carved finials, ‘ I PaO oor 
SAS f— fat arms on turned baluster-shaped supports, straight turned 
legs with square side and back rails, and front rail carved in low 
relief with panel of scrolled acanthus leaves. Seats and backs 
covered with leather finished with double rows of brass-headed 
nails. 


374—SIXTEENTH CENTURY LiGURIAN WALNUT ARMCHAIR (GEA J a 
//¢© Similar to the preceding. 


375—SIXTEENTH CENTURY LicguRIAN WaLNUT ARMCHAIR 

Straight square back with gilded acanthus-leaf carved finials, 
flat arms on turned baluster-shaped supports, straight turned 
legs with square side and back rails and front rail carved in low 
arms on turned baluster-shaped supports, straight turned legs 
with square side and back rails and front rail carved in low 
relief with panel of scrolled acanthus leaves. Seat and back 
covered with leather finished with double rows of brass-headed 


nails. 


Third and Last Afternoon 


376—SIXTEENTH CENTURY FLORENTINE RouNDABOUT WALNUT 


ARMCHAIR a (@ 
VEU, Semicircular shape. Open back, formed of seven turned spin- 
dles with flat head rail and shaped wooden seat with molded and 


fluted edge. On three spreading straight turned legs of baluster 
shape. 


Third and Last Afternoon 


377—Pair OF SIXTEENTH CentTRUY Tuscan W.aLNUT STOOLS ZO) , ace te 
Sgabello type. Rectangular seats with molded and carved 
<s ¥o- edges. Square pedestals and two spreading shaped supports 
carved with voluted scrollings and with carved voluted feet. In 


walnut. Heightened with gilding. 
Height, 1 foot 9 inches. 


Third and Last Afternoon 


nn 


378—SIXTEENTH CENTURY UmpBrIAN WALNUT TABLE fe x Sheree 
with 


Octagonal molded top. Apron fitted with four drawers 
molded panel fronts and turned ball handles separated by 

O- panels molded to correspond. On turned pedestal with molded 
capital, vase-shaped shaft carved with flutings and imbrications 
and circular foot carved with circular medallions. On incurved 
triangular base with carved paw feet. 


Height, 2 feet 8 inches; diameter, 3 feet 1 inch. 


5 


Third and Last Afternoon 


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379—SIXTEENTH CENTURY TuscAN Watnut TABLE ee he aa 
4 nS i g 
aga cian a © 
Hexagonal pedestal, with detached columns with molded capi- 
ey, p_tals and bases on three sides and boldly carved dolphins with 
twisted tails and open mouths on the other three sides. In- 
curved triangular base with fluted sides and acanthus-leaf 
carved feet. 


Height, 3 feet 1 inch; diameter of top, 8 feet 1034 wmches. 


Third and Last Afternoon 


880—-SIXTEENTH CENTURY NortTH ITaLIAN WatNut CABINET 
TABLE } ce : 

S — Mee 4 

Ep Rectangular-shaped. Plain top with pedestal ator divided | 
Lf < ito two drawers with raised paneled fronts and ball handles 
separated and flanked by fluted pilasters. On lyre-shaped end 
supports carved with scrolls, volutes, acanthus leaves and de- 

tached sprigs of heart-shaped leaves. Molded cross bases. 


Height, 2 feet 9 inches; length, 3 feet 6 inches; width, 2 feet 4 inches. 


Third and Last Afternoon 


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381— SIXTEENTH CENTURY ‘TUSCAN WaLNuT TABLE 4 


od a ‘ 
< 


Rectangular shape. Top inlaid with heraldic eagle surrounded 
by a border of geometrical design and with molded edge, apron 
fh 4 —carved in scrolled acanthus-leaf design with carved masks at 
angles. Supported on four turned columnar-shaped legs, 
square rails with imbricated fronts, square, inlaid and molded 

feet. 


Height, 2 feet 5 inches; length, 2 feet 4 inches; width, 1 foot 714 wmcehes. 


Third and Last Afternoon 


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382—-SIXTEENTH CENTURY TUSCAN WALNUT CorFER [PF LE Lee 
Rectangular shape. Heavy sunken paneled and molded hinged 
hd carved with flutings and acanthus-leaf medallions and se- 
cured by contemporary lock. The front, with sunken paneled 
7 FO- center, surrounded by heavy moldings carved with quatrefoil 
rosettes, acanthus leaves and flutings, and flanked by panels 
with leaf-carved moldings enclosing carved masks with side 
draperies and volutes above and below. Molded base carved 


in acanthus-leaf patterning. Double voluted scroll feet. 


Height, 1 foot 9 inches; length, 3 feet 4 inches; width, 1 foot 11 mches. 


Third and Last Afternoon 


Peet ht Pet bite eOeworr vests 4 


383—F'IrTEENTH CENTURY VENETIAN CARVED AND INLAID WALNUT 
CoFFER SE pe Pie 

Rectangular shape. Sunken paneled, molded and dentelled 

hinged lid, with frieze inlaid in a pattern of rectangular inter- 

$2 ¢ lacements. Front divided by four pilasters with Gothic capi- 

~ tals, paneled and inlaid shafts and molded bases into three 

molded panels inlaid with geometrical patternings and enclos- 

ing two quatrefoil and one circular medallion carved with late 

Gothic traceries, the side medallions enclosing rayed rosettes 

of inlay, the center one a carved coat-of-arms. Carving height- 

ened with gilding. Paneled, inlaid and carved sides. Plinth 
inlaid with geometrical patterning and molded base. 


Height, 2 feet 1 inch; length, 4 feet 2 inches; width, 1 foot 8 inches. 


Third and Last Afternoon 


384— KIGHTEENTH CENTURY VENETIAN CARVED, INLAID AND 
PAINTED WoRKBOX Bre A, At. 
Quatrefoil-shaped tops formed as boxes with hinged lids, whic 
have the tops inlaid with mother-of-pearl and painted with 
Chinoiseries in gold on red ground, molded edges elaborately 
carved with volutes, acanthus-leaf scrolls and floral sprays, and 
sides carved with scrolled panels flanked by interlacements. 
ge Ls I— The carving is gilded, the upper surfaces painted and inlaid 
with mother-of-pearl. Below are square molded pedestals which 
rest on reverse-C curved stems carved with acanthus leaves 
and rectangular voluted panels, all the carving is gilded, painted 
and inlaid with mother-of-pearl. Supported on tripods of 
scrolled and voluted feet carved with acanthus leaves; shaped 
and voluted panels, painted and gilded. Fitted with pierced 
and scrolled keys of gilded bronze. 


Height, 3 feet 6 inches. 
(Illustrated) 


385— EIGHTEENTH CENTURY VENETIAN CARVED AND INLAID 
oe Vg Jee PaIntTED WorKBOXx 


Similar to the preceding. Bret Ghee 
(Illustrated) 


No. 384—EIGHTEENTH CENTURY VENETIAN CARVED, INLAID AND 
PatintED WorxksBox 


No. 385—EIGHTEENTH CENTURY VENETIAN CARVED AND INLAID 
PaintTED WorxkKBOXx 


Third and Last Afternoon 


386—SIXTEENTH CrenTurRY Irarian Watnut CHaiR (<7 e, | 3 H 


He F— and double-arched molded panel with figure of a saint. Heavy 


4 


hla 


Tyrolean type. Shaped back carved with whorled medallions 


shaped seat carved with whorled medallions and straight tripod 
molded legs. | | 
> 


Of sgabello type. Backs with pierced oval opening in ce 
carved with mermaids, dolphins and shells. Octagonal molded 
wooden seats and four turned spreading legs. 


387—Pair OF SIXTEENTH CENTURY FRENCH WALNUT Bei Le. Ale Gen | 
er a 


Third and Last Afternoon 


388—Pair OF SIXTEENTH CENTURY UmBRIAN WaLtnut CHAIRS ; 
5 : : : Me tafe 
Sgabello type. Shield-shaped backs with sides carved with 
baz _voluted scrolls and centers with egg-shaped medallions sur- 
~ rounded by scrollings. Front supports carved with two dol- 
phins, shaped seats with sunken centers and shaped back 


supports. 


389—Pair OF SIXTEENTH CENTURY UmBRIAN CHAIRS 

Sgabello type. Similar to the preceding with the exception of 
the front supports, which are carved with dolphins, guilloche 
patternings, rosettes and scrolled egg-shaped medallions. 
Shaped seats with fluted edges and shaped back supports. 
Carving throughout heightened with gold. 


—— 


Third and Last Afternoon 


390—SET Cha CENTURY ITALIAN WALNUT CHAS ge ay 


Sgabello type. Shield-shaped carved backs terminating in vo- 
x De luted scrollings, flanked by female terms and centered by 
J f f acanthus-leaf framed oval medallions. Front supports carved 
with acanthus-leaf voluted scrollings, stars and shells, and end- 
ing in lions’ paw feet. Shaped back supports and octagonal 
wooden seats with carved edge. 


3891—SIXTEENTH CENTURY TuscAN Watnut CHAIR Ce SP 
Sgabello type. Shield-shaped back, the sides carved with vo- 
luted acanthus leaves, the top with scrolls and pointed leaves, 
Vs ee the center with escutcheon of coat-of-arms. Square pedestal, 
front support carved with voluted acanthus leaves and fluted. 
base. Octagonal molded seat with shaped back support. 


Third and Last Afternoon 


392—SIXTEENTH CrenTURY Umbrian WALNUT CHalR Yy~ ) ge 
Sgabello type. Shield-shaped back, the sides and top carved 
42 O- with voluted scrolls, the center with oval scrolled medallion of 
the coat-of-arms of the Princess Colonna. Front support 
carved with a double-tailed siren, the feet with birds and rocks. 
Square seat with molded edge and shaped back support. 


Be A het 


3893—SIXTEENTH CENTURY TUSCAN WALNUT CHAIR CO Ke Pes #3 
Sgabello type. Shield-shaped back, the top carved with scrolls, 
the sides with voluted and fluted scrollings and the center with 

<//- oval scrolled medallion of coat-of-arms. Vase-shaped front 
support carved with flutings. Hexagonal wooden seat and 
shaped back support. 


Third and Last Afternoon 


394—SIXTEENTH CENTURY ITALIAN FALDSTOOL OF Py. AND 


BRONZE (O. Bernel agt. 
Curule-chair shaped, with curved legs of wrought iron and four 
Ht Gp- bronze baluster-shaped terminations with ball finials. Seat of 
red velvet with deep silk fringe and loose cushion of red velvet 


embroidered in gold with a coat-of-arms surmounted by a 
Bishop’s Hat. 


Third and Last Afternoon 


395—SIXTEENTH CENTURY ITALIAN IRON AND Bronze FALDSTOOL 
Curule-chair shaped frame of wrought iron with circular medal-C . 4x2. 5. — 
SY. lions at the intersections. Baluster-shaped uprights terminat- 
ing in ball-shaped finials of turned bronze at the angles and 
turned pear-shaped bronze feet. Seat of crimson velvet finished 
with silken tassels. 


Third and Last Afternoon 


i i ee en 


396—SIXTEENTH CENTURY ITALIAN BEECHWOOD SAVONAROLA 
CHAIR pyar : 
She. ee 2 tlee’ 
_ Formed of seven reverse curved square supports, the front ones 
he incised, pivoted at their intersections and with square base rails. 
Straight arms and shaped back, carved with incised circles. 


397—SIXTEENTH CeENTURY ITALIAN BEECHWOOD SAVONAROLA 
Crair UP 
Coa Formed of nine reverse curved square supports, the front ones 4 
carved, pivoted at their intersections, and with square base rails. 
Straight arms ending: in turned balls and shaped back, carved 
with a circle and cross. 


Third and Last Afternoon 


398—SIXTEENTH CENTURY ITALIAN BEECHWOOD SAVONAROLA 
y, oo [Get Dae 
oa Z ¥ormed of eight reverse curved square supports, , the front ones 
carved, pivoted at their intersections and with square base rails, 
having fluted ends. Straight arms and shaped back with ros- 
etted circles, cross and lines. 


399—SIxXTEENTH CENTURY ITALIAN WALNUT SAVONAROLA CHAIR 


C ee 
Formed of six reverse curved square supports, the front Ones 1 eLeZe: 

UPVE carved, pivoted at their intersections and with square base rails. 
Straight arms and shaped back support carved with incised 
circles. 


Third and Last Afternoon 


400—EIGHTEENTH CENTURY ITALIAN meee SAVONAROLA 


Formed of eight reverse curved square sap ia He the front ones 

vi pipes carved, pivoted at their intersections and with square base rails 
with carved ends. Straight arms ending in balls, and shaped 
back with molded edge and carved with a raised escutcheon 
inscribed “pax” and dated 1740. 


401—SIXTEENTH CENTURY ITALIAN WALNUT SAVONAROLA Soe 


Formed of six reverse curved square supports with square base ~ 
alia rails having curved ends. Curved arms and shaped back carved 
with a circular medallion. 


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402—SIXTEENTH CENTURY ITALIAN WALNUT SAVONAROLA OEE, 
4 ‘Z, 7, Ay reo 

yf Formed of eight reverse curved square supports pivoted at ee ae 
J 7b- their intersections and with square base rails. Curved arms 


with carved rosettes and shaped back. 


403—SIXTEENTH CENTURY ITaLIAN WALNUT SAVONAROLA CHAIR — 
Formed of eight reverse curved square supports pivoted at their BS thin Aso 

4 60 intersections and with square base rails having fluted ends. 
Curved arms with sunken rosettes and shaped back with incised 


shield. 


Third and Last Afternoon 


404—SIXTEENTH CrENnTURY ITALIAN BEECHWOOD SAVONAROLA 
ee Iy- TI’ormed of nine reverse curved square supports pivoted at their 
: intersections and with square base rails. Straight arms, ending 

in turned balls, and shaped back. 


405—SIXTEENTH CENTURY ITALIAN WALNUT SAVONAROLA CHAIR | 

| Formed of eight reverse curved square supports pivoted at 7 KN fueweta| 
/ jy O- their intersections and with square base rails. Curved arms S| 
having sunken rosettes of shell patterning and shaped back. 


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406-—SIXTEENTH CENTURY ITALIAN WALNUT SAVONAROLA CHAIR 


Formed of six reverse curved square supports pivoted at their RS perk o— 
ye g 0-'intersections and with square base rails. Curved arms with 
sunken shell-patterned rosettes and shaped back with incised 


shield. 


407—SIXTEENTH CENTURY ITALIAN BEECHWOOD SAVONAROLA 
CHAIR aye ie 
Ly Formed of six reverse carved square supports pivoted at thease |, 
~ intersections and with square base rails. Straight arms ending 
in turned balls and shaped back, with incised vertical lines. 


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408—Pair oF SIXTEENTH CrentuRY Iratian Watnut CHarrs Dr, On» chle. 
Sgabello type. Shield-shaped backs, the sides carved with 
2 ¥0- acanthus-leaf voluted scrollings and the centers with festoons 
and medallions. Front supports carved with masks and volutes 
and ending in paw feet. Octagonal molded wooden splats with 

box pedestals and shaped back supports. 


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ARE) . 


* 


Die . } 
{ fi lf 


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qe 


HOON 


409—SIXTEENTH CENTURY UmpriAN WaLnuT CHAR % , A fleet. 


Sgabello type. Shield-shaped back carved at the sides with 
Gee voluted scrolls and with carved voluted cresting, and center 
carved with scrolled egg-shaped medallion. Front support 
carved with dolphins, acanthus leaves and scrolled medallion. 
Shaped seat with sunken center and shaped back support. 


410—SIXTEENTH CrentTuRY Tuscan Watnut CHAIR <<“ (LP ae 
Sgabello type. Shield-shaped back, the sides carved with vo- 
— , luted scrolls, the top with voluted acanthus leaves and the 
*C~ center with scrolled egg-shaped medallion of coat-of-arms. 
Front support carved with dolphins, acanthus leaves and guil- 
loche patterning. Octagonal carved seat and shaped back 
support. 


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411—SIxTEENTH CENTURY UMBRIAN WALNUT CHAIR CM Be ni rat 


Sgabello type. Shield-shaped back, the sides carved with vo- 
I- luted scrolls, the center with egg-shaped scrolled medallion. 

Front support carved to correspond with lions’ paw feet. 

Shaped seat with sunken center and shaped back support. 


412—SrxreentH Century Umprian Watnout Cuair 2f ¢7hertre 
Sgabello type. Shield-shaped back, the sides carved with vo- 
luted scrolls and acanthus leaves, the top with scrolled acanthus 
vs 4, $0 \eaves and the center with scrolled egg-shaped medallion of 
. coat-of-arms. Front support carved with voluted scrolls, guil- 
loche patterning and acanthus leaves. Octagonal seat with 
shaped back support. 


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LF 22a eae 
ay ar ay iv at i 
DE inh 

Pot Z ” 


ts 


“4 EXTEN NA | 


eg a, yoni 


413—Pair OF SIXTEENTH CENTURY Umprian WaLnut Cuairs £,,- @¢, un te. 
Sgabello type. Shield-shaped backs carved at the sides and 
SG0- tops with voluted scrolls and in the centers with scrolled me- 
dallions (one with coat-of-arms). Front supports carved with 
dolphins, acanthus leaves and scrolled medallions. Shaped 
seats with sunken centers and shaped back supports. 


414—SIxXTEENTH CENTURY UmpBrian WALNUT CHAIR 

Sgabello type. Shield-shaped back carved at the sides’ with oy, ig 
voluted scrolls and with carved voluted cresting. Center carved~ “~ ~~ 
with scrolled egg-shaped medallion having a coat-of-arms. 

Front support carved with dolphins, acanthus leaves and 

scrolled medallion. Shaped seat with sunken center and shaped 


back support. 


S/O- 


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415—SIXTEENTH CENTURY ITALIAN BEECHWOOD SAVONAROLA 
CHAIR Lb eTa 
- Formed of eight reverse curved square supports pivoted at 
// 2 their intersections and with square base rails. Straight arms 
and shaped back carved with circular medallion and the word 
Libra 


416—SIXTEENTH CENTURY ITALIAN BEECHWOOD SAVONAROLA 


CHAIR WI, 2: 
Formed of seven reverse curved square supports, he oe 
SL 0- ones carved with incised rosettes, pivoted at their intersections 
and with square base rails. Straight arms ending in turned 
balls and shaped back carved with circular medallion. 


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eee inc ght tee ea ae rn aloe 


417—SIXTEENTH CrNnTUuRY ITaLIAN BEECHWOOD SAVONAROLA 
Cuam Ptr2 Qr1elee. 
| Formed of six reverse curved square supports, pivoted at their 
if? /O—  iitersections with an exceptionally large turned rosette. 
Shaped back, straight arms and straight base bars with paw 
terminations. Backs, fronts of supports and legs richly carved 
with fluted rosettes and scrollings. 


De 274 a, nae q 
418—SIXTEENTH CENTURY ITALIAN WALNUT SAVONAROLA CHAIR 
Formed of eight reverse curved square supports pivoted at 
yd @(- their intersections, and with square base rails. Curved arms 
with sunken circular medallions and shaped back with incised 


shield. 


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, 4 ee 


Re ACS ae) tion pe 


419—SIXTEENTH CENTURY ITALIAN WaLNutT DantEScA CHAIR cid 


Body formed of two heavy reverse curved square supports with 
turned rosette at their intersection in front and with square 
base rails terminating in carved lions’ paws. Curved arms with 
circular rosettes. Seat and back of old red velvet secured with 
brass-headed nails and finished with red silk fringe. 


ie A pr 
bUue- 


Oa 
420—SixtrentH Century [rattan WatNnut Savonarota CHAIR 
Formed of seven reverse curved square supports, pivoted at 
/ j,(- their intersections and with straight base rails having carved 
ends. Curved arms and shaped back. 


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oe eS 


421—SIXTEENTH CrentTuRY ITaLt1an Watnut Dantesca CuHarr ¢? ig eee 
Roman curule-chair shape of double curves with turned rosettes 
at intersection. Square curved and voluted arms, and cross 
ba $- bases with carved paw feet. Back of embroidered red velvet 
finished with silk fringe and seat of red velvet with silk tassels. 


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422—SIXTEENTH CENTURY ITALIAN WALNUT SAVONAROLA CHAIR 4 F. 


a 


Formed of seven reverse curved square supports pivoted at 
f_ their intersections and with square base rails. Straight arms 
; with turned ball ends and shaped back. 


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423—SIXTEENTH CENTURY Tuscan WaLnuTt Box Cuan (%. 7ra27lene 


Back of Dantesca character with shaped back rail, box seat with 
LO 5- paneled front, and sides and molded base on carved paw feet. 


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424 SIXTHENTH Century Iranian Watnut ARMCHAIRGY / 


AL Te 


High square back with bronze melon-shaped finials, straight 
flat arms carved at their junctions with the back, on square 
molded baluster-shaped supports. Straight square legs and 


deep front rail paneled and carved with a mask and acanthus_ 


scrollings. Back and seat covered with contemporary tapestry, 
that of the back woven in a design of Samson and Delilah 
flanked by spirally fluted columns. Finished with knotted 
silken fringe and round brass-headed nails. 


— 


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bts 


‘ 


— 


eee he 


7 —- 


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425—PAIR OF 


2 300- 


High square backs with bronze ball finials, straight flat arms, 
carved at their junctions with the backs, on square carved and 
molded baluster-shaped supports. Straight square acanthus- 
leaf carved legs, shaped aprons, and deep front side-rails 
carved with circular bosses and scrolled strap work. Backs 
and seats covered with contemporary tapestry, that of the 
backs woven in a design of Virtues, as female figures, sur- 
rounded by Amorini and scrollings. Finished with tasseled 
silk fringe and oval brass-headed nails. 


SIXTEENTH CENTURY ITaLiaN WALNUT ARMCHAIRS g/, 


SCULPTURES AND PAINTINGS 


We are somewhat apt to lose sight of the fact that the Itahan 
of Renaissance times scarce troubled to draw a dividing line between 
what we are wont to term the Major and the Minor Arts. Thus the 
sculptor was often a painter and an architect as well, and the archi- 
tect, besides being skilled in the art of sculpture, had practical and 
constant experience as a designer of the chairs and tables, the cassoni 
and the beds, with which the palaces that owed their very conception 
to his fertile brain were furnished. 

And so it is that these busts and little statues, these bas-relief 
pictures and devotional “Pieta,” blend themselves, subtly but none 
the less pervasively, with the furniture and hangings, the metalwork 
and majolica, of their contemporary times. Further than this it may 
be said, that of the essential “oneness” of Italian life and Italian art 
in the fifteenth and sixteenth centuries they are curiously significant. 

As noteworthy in this respect is Cozzarelli’s intimate portrait 
bust of the young daughter of some one of his patrons as the pictorial 
modeling of Da Maiano’s Madonna and Child or the ingenuous San 
Giovanni of Rossellino. 

So, too, with the pictures, whether one takes into consideration 


the primitive by that little-known but highly regarded master, Gio- » 


vanni Lotti of Siena, or the portraits by Bronzino and Tintoretto. 
Indeed, one finds the same condition persisting well on in the eigh- 
teenth century, when Longhi in his delightful series arrested for 
all time the frivolous, but pulsing, life of Venice in the period of her 
splendid decline. 


Dbl, 


et 


PO ree 


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TERRA-COTTA, MARBLE AND WOOD OF THE FIFTEENTH 
SIXTEENTH AND SEVENTEENTH CENTURIES 


426—SIXTEENTH CENTURY SIENESE PatIntTeD Woop Portrait 


SOE 


Bust sy CoZZARELLI jap : 
/ Dy > a 


Bust of a Sienese lady in red robe with square cut opening, 
below which is seen a fine linen shirt, and curling hair having 
a rose with leaves in the center of the forehead. On oblong 
molded wood base gilded and decorated, in pointillé work, with 
a floral patterning. 

Height, 15 inches. 


Note: Cozzarelli was a Sienese painter and sculptor of the S1X- 


teenth century. 


Third and Last Afternoon 


427—FieTEENTH CENTURY CoLoRED TrERRA-coTTA Bas-RELIEF BY 
BENEDETTO DA MAIANo (1442-1498) 
Rectangular tablet. Modeled in low relief with a subject of 
the Virgin, Child Christ and St. John the Baptist. The Virgin 
in red robe and with a halo supports on her right arm, and on 
a fold of checkered drapery, the nude Child Christ, and guides 
His right arm with His hand uplifted in the act of blessing. 
She looks downward as does the Christ on the infant St. John 
the Baptist, with his symbolic cross, who occupies the lower . 
left-hand corner of the bas-relief. Above, in the upper cor- | 
ners, are two cherubim with many wings. The charm of thee Fpter, ! 
Jbbo- example of fifteenth century modeling lies not so much in the : 
expression of the Madonna’s face with its brooding melancholy 
as in the varying types of childhood shown in the Child Christ, 
the St. John and the two cherubim. In a contemporary frame 
of carved and gilded wood, with molded cornice, frieze deco- 
rated with a dotted design of circular medallions and scrollings, 
supporting fluted pilasters and molded base. 


Height of bas-relief, 20 inches; width of bas-relief, 16 inches. 
Height of frame, 34 inches; width of frame, 31 inches. : 


Note: Of the three Maiani brothers, Benedetto was from all ac- 
counts the most eminent as a sculptor. As this surpassingly lovely study, 
no less than that masterpiece, his pulpit in Santa Croce, shows, the high 
repute in which his contemporaries held him was worthily attained. It is a 
study for a marble sculpture known by repute but at present non- 
existent and has received the high praise of acknowledged experts, 
documents to which effect are in the possession of Professor Volpi. 


(Illustrated) 


No. 427—FirtreentyH Century CoLtorep TErRRaA-cotta BAs-RELIEF 
BY Benepetro pA Matano (1442-1498) 


a Sear 


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428—SIXTEENTH CENTURY FLORENTINE COLORED 'TERRA-COTTA 
“RinTAS pas es 

The seated Virgin in red robe, with an expression of the deepest 

/ Pp O- grief, holds the body of the dead Christ, showing the wounds 


in feet, hands and side, on her knees. 


Height, 22 inches; width, 18 inches. 


429—SEVENTEENTH CENTURY ‘TERRA-cOTTA GROUP BY PIERRE 
PuGeET (1622-1694) 

“The Apparition of Venus to Aidneas.” ‘The warrior, a hand- 
some youth in Grecian armor, with plumed helmet and cloak 
fastened on the left shoulder, stands with the right arm out- 
Abe 4~— stretched and the left holding a lance. He looks into the face 
of Venus, who floats in the air above him resting on his shoulder 
and pointing with her left hand to the armor she has procured 
for him. At Auneas’ feet kneels a winged Amorino holding 
up to him a shield sculptured in low relief, and on the ground 

is the remainder of the armor. On octagonal rocky base. 


Note: Pierre Puget was the sculptor of the Milo and Andromeda 
at Versailles, and some examples of his work in terra-cotta are in the 
Museum of the Louvre. 


(Illustrated) . 


430—FIFTEENTH CENTURY MarBLE St. JOHN BY ANTONIO Ros- 
SELLINO (1427-1490) 


Full-length figure of the youthful St. John the Baptist stand- 
ing with his right hand hanging by his side and supporting the 
legendary cross of metal. His left hand holds a scroll and 
around his left shoulder is draped a mantle of goat skin. He 
wears sandals and above his head is a gilded halo of wood. On 
shaped base and of white marble. 
Height, 30 inches. 
Note: The statuesque beauty of the figure, the calm serenity and 
dignity of the face of this little statue, recall the best work of Donatello, 


one of whose favorite pupils was Antonio Rossellino, to whom the work is 
attributed. 


(Illustrated—See Frontispiece) 


(FG69L-229L) 1990g AIUAIG AM AAOUH VILOO-VaUAT, AMALNA) HINAALNAATS 


6G6P “ON 


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431—F IF TEENTH CENTURY COLORED AND GILDED TERRA-COTTA Bas- 


RELIEF BY NeErRoccio (1447-1500) ee, 
ae DS Half-length seated figure of the Virgin in a red robe bordered 
with gold around the square-cut neck opening. She holds the nude 
figure of the Child Christ, who supports Himself with one arm around ~ 
His Mother’s neck. . 


Height, 18 inches; width, 18 inches. 


Note: Neroccio di Bartolommeo di Benedetto Landi was one of the 
greatest and most typical of fifteenth century Sienese artists. He 
was a painter as well as a sculptor, though his pictures are rarely met 
with outside of Siena. 


432—RoMAN MARBLE CHILD’s SARCOPHAGUS OF THE AUGUSTINIAN 
PERIOD | it Foie 

Rectangular sarcophagus of white statuary marble. The front 
; and sides carved in high relief with a triumph of winged 
he Yj g— Amorini driving Roman chariots and on horseback. At the 
front angles are twin columnar pilasters with acanthus-leaf 
capitals on drum-shaped pedestals with molded bases, and at 

the rear angles straight pilasters with rusticated shafts. 


Note: This sarcophagus has for many generations been in the pos- 
session of a well-known Roman family from whom it came direct to 
Professor Volpi. 


(Illustrated) 


qOlad NVINILSADNY AHL AO SADVHAOOAVE S.CIIHD AIMUVIT NVWOY—zZEF “ON 


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433—FIFrTEENTH CENTURY BURGUNDIAN CARVED, GILDED AND 


J 00- 


CoLorED Woop “Preta” ae 
Upright oblong panel. ‘The lower portion carved with Pieta, 
or Deposition from the cross. In the center the weeping Virgin 
supports on her knees the body of the dead Christ, having on 
her right St. John the Divine and on her left Mary Magdalen. 
The background is carved with three pointed-arch niches with 
backings of florid Gothic tracery and supported by four col- 
umns with floriated capitals. Above the arches is a canopy of 
crocketed gables and a clerestroy of pierced Gothic arches 
and traceries, surmounted by a molded broken cornice and a 
pierced and carved cresting of florid Gothic character. The 
whole is surmounted by a crocketed fleche with pierced dormer 
windows and a molded finial. On a square molded base broken 
at the angles. The figures are colored, the canopy gilded: 


Height, 3 feet 11 inches; width, 1 foot 6 inches. 
(Illustrated) 


No. 433—FirtEENtH CenTUuRY BurcunpIAN CaRrvVED, 
GILDED AND CoLorEep Woop “PrEetTA”’ 


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434—FIFTEENTH CENTURY SIENESE CoLoRED Woop ANNUNCIA- 
TION rh. 2 
Standing figure of the Virgin clasping to her side with her left — 
hand a Missal while the right hand is raised. Her head is in- 
ae Oo, 4 clined towards the left as she listens to the message the Angel 
is delivering. She is dressed in a sweeping robe of red confined 
at the waist with a gold girdle and with gold trimming around 
the neck. Her simply braided hair is gilded. On octagonal 


base. 
, Height, 4 feet 1 inch. 
(Illustrated) 


DRAWINGS AND PAINTINGS | 


435—FIFTEENTH CENTURY FLORENTINE DRAWING IN SANGUINE 


_-Studies of the nude drawn in red crayon, with another similar 
study drawn on the reverse side. 4X. BC. Fogler 
Height, 11 inches; width, 8 inches. 


436— EIGHTEENTH CENTURY DRAWING By TIEPOLO Did Pint 


g pe Pen-and-ink drawing, shaded by washes of sepia, of “Our Lady 
of Pity,” by Giovanni Battista Tiepolo (1696-1770). 


Height, 16 inches; width, 10 inches. 


No. 484—FirTrEENtTH CENTURY SIENESE CoLoRED Woop ANNUNCIATION 


Third and Last Afternoon 


GIOVANNI LOTTI DA SIENA 


Iranian: 1435—1495 


437—“THr ANNUNCIATION” 


oly OO- 


(Tempera on panel) 


To the right stands the Virgin, her head surrounded by a 
halo, in blue robe and red mantle, holding a missal in her 
left hand, and her right hand upraised. Facing her on the left 
is the kneeling angel Gabriel with wings and halo, dressed in 
a flowing robe, and with hands, crossed on the breast, holding 
a branch of palm leaves. These figures as shown, through an 
arcade of columns with composite Corinthian capitals, in a 
chamber paved with blocks of marble arranged in a geometrical 
patterning with round-arched niches in the walls and an open 
window through which is seen a far-reaching landscape. Below 
the window is a tablet bearing the inscription: “Opus Johanis 


Lotti Desenis M.CCCC LXXXXIITI.” 


Height, 101% inches; length, 22 inches. 
(Illustrated) 


¢«NOLLVIONONNY GH YJ,,,—-LeF ON 


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* 
: oe oe ns re 


en te 


ANGELO ALLORI (IL BRONZINO) 


Tratran? 1502-1572 


438—PortTrRAIT oF Costmo pEI MEpICI 


(On panel) 
Phir. Qretele 
Pe 


eg Pic oh Bust portrait, facing the spectator and looking towards the 


_ left, of a young man with bare head, thin moustache and beard, 
wearing a steel corselet. 


Height, 15 inches; width, 111% inches. 


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GIOVANNI BATTISTA PIAZZETTA 
Travian: 1682—1754 


439—“THE SPINNER” wor wtlhlor~ 


Bust-length view of a young woman dressed ih a Venetian 

Wy, peasant costume with white underbodice holding a distaff under 

~ her left arm and twisting the thread with both hands. Her 
face is seen in three-quarter view looking downwards. 


Height, 19 inches; width, 15 inches. 


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ADRIAEN BROUWER 
Dutcu: 1605—16388 


440—“THE SURGEON” 
(On panel) 


In a room paneled with brown oak is a table, on which are eA a 

earthenware bowl, an ewer of oil, a glass and other objects used 
Wes DO- by the Surgeon, who sits behind, with clean-shaven face and 

wearing a close-fitting red cap. His lips are tightly closed as 

he wields his scalpel on the arm of the patient, whose face is 

distorted in an expression of frightened apprehension. Be- 

hind is another peasant amusedly surveying the operation. 


Third and Last Afternoon 


PIETRO LONGHI 
Itatian: 1702—1762 


SIX PORTRAIT GROUPS 


b) 99 


«6 “gba ° e ° ° 
Conversation Pieces” and “‘Scenes of Venetian Life,’’ completing 
a famous series, four examples of which are now in the Metropolitan 


Museum of Art. 
Heights, 244/, inches; widths, 1914, inches 


Note: Pietro Longhi painted a series of twenty subjects of “Scenes of 
Venetian Life” and “Portrait Groups” for the Gambardi family of Florence 
who were among his leading patrons. Ten of these were willed, by the last 
representative of the Gambardi family, to the Marchese Freschi of Padua. 
Some of these eventually reached the English National Gallery and others 
are in the Brera Gallery of Milan. The other ten pictures were left to 
Comte Miari de Camani. Of these, four were sold to the Metropolitan Museum 
of Art, New York, while the other six came into the possession of Professor 
Volpi and are here catalogued. All six pictures are in old carved and gilt 


wood frames and are of the same size. 


Third and Last Afternoon 


PIETRO LONGHI 
Iranian: 1702—1762 


A 


441—“Tur CorreE Party” at 
‘“Conversation Piece.’ Around a white linen-covered taWle is 


grouped a party of seven. Sitting erect in the center, behind 
the table, is a young lady with powdered hair, having on her 
left an ecclesiastic, and on her right a young officer in frogged 

Fs 7 O- coat and cocked hat. Beyond him sits another youth, while in 
front, resplendent in embroidered square-cut coat sits the hus-— 
band. On the right stands an ecclesiastic in a voluminous coat 
and on the left the artist Longhi sketching the group. Behind 
stands a servant holding a trayful of coffee cups. The chief 
interest, of course, is lent to this group by the auto-portrait of 
the painter, which he has included. - 


(Illustrated) 


99 


Ya 


“THe Corree Part 


1) 


tro Longh 


iS 


iE 


(By 


Third and Last Afternoon 


PIETRO LONGHI 
Trauian: 1702—1762 


B 


442—“TrE Ca” ret cae 
“Conversation Piece.” Seated in the center is a middle-aged 


lady in a fur-trimmed dress with her hand inserted in an ermine 
muff resting on her knees. Seated in a chair facing her is a 
te o& O- yvound-faced elderly man dressed in a loose-fitting robe heavily 
: trimmed with ermine. A servant in livery hands a tray with 
two cups of chocolate and behind stands a man in a dark dress 
with close-fitting cap and short hair. In the foreground: sits a 

pug dog. 

(Illustrated) 


Pan Cau 


(By Pietro Longh1) 


Third and Last Afternoon 


PIETRO LONGHI 
Irauian: 1702—1762 


C 


443—“THuHr GAME OF CARDS” ‘: | aed 


FA b- 


“Conversation Piece.” In the center sits a young lady in an 
elaborate dress of a flounced skirt, pointed stomacher and em- 
broidered skirted bodice with falling ruffles of lace at the 
sleeves, playing cards with an elderly man dressed in a heavy 
redingote. ‘The game has been interrupted by a visitor, a young 
man in square-cut coat, silk waistcoat and knee breeches, who 
extends his right hand, holding his hat towards the lady. At 
the back stands an elderly man in a dark suit with curled 
peruke, and a servant who has raised a curtain to admit the 
visitor. 
(Illustrated) 


“Tie GamME oF Carbs” 
(By Pietro Longh) 


Third and Last Afternoon 


PIETRO LONGHI 
Iratian: 1702—1762 


D 


444—‘Trur Music Parry” aed oe 


“Conversation Piece.” In the center stands a youn@ man 
‘dressed in square-cut embroidered coat and vest, and knee- 
breeches. His right hand is thrust in his vest and he has ap- 
parently just ceased singing, for at the right sits his accompan- 

See ist, an elderly man, playing from a sheet of music on a small 
harpsichord. Leaning over the table behind the singer is a man 
dressed in a heavily braided coat, and on the left, in an arm- 
chair, sits an older man dressed in a loose robe trimmed -with 
fur and with his folded hands in his lap. 


(Illustrated) 


“Tir Music Parry’ 
(By Pietro Longhi) 


Third and Last Afternoon 


PIETRO LONGHI 
ITaian: 1702—1762 


E 


445—‘Tur TRAVELING DENTIST” ee : 

“Scene of Venetian Life.” A group of merrymakers, séfme of 
whom have retained their masks, have halted on their way home 
from the Ridotto to listen to a traveling dentist who, dressed 
in square-cut coat and peruke, stands upon a platform holding 

2 C~ 4 tooth in one hand and vaunts his powers to the amused 
listeners. Back of him stands his “Polichinelle” and at the side 
of the platform stand two street urchins. ‘The scene takes 
place under an arcade with a funeral escutcheon hanging on the 
wall that forms the background. | 


(Illustrated) 


“Tue TRAVELING DENTIST” 


(By Pietro Longhi) 


Third and Last Afternoon 


PIETRO LONGHI 
Iranian: 1702—1762 


FE 


446—‘“TuHr DANCE AT THE PICNIC”  . : oe 


ae ee 


“Scene of Venetian Life.” In the center of the picture a 
young Venetian girl with hooped skirt and pointed stomacher 
essays the step of the minuet and extends her skirts with her 
finger tips. On the right the old grandfather in an easy chair 
watches her with head thrown on one side while the mother 
proudly points her out to him. On the left a young woman 
plays a tambourine and a young man smokes a pipe as he 
watches the dancer. Above is a bough of a tree over which is 
thrown a fold of drapery and in the background a woman stirs 
a pot, with bunches of fagots by her side, while near her stand 
two servants. 


(Illustrated) 


o 


“THe DaNcE AT THE Picnic” 
(By Pietro Longhi) 


Third and Last Afternoon 


JACOPO ROBUSTI (catzen IL TINTORETTO) 
ITALIAN: 1518—1594 


447—“‘PorTRAIT OF VENETIAN AMBASSADOR” 


On canvas) — 

2 GF. ender 
Three-quarter-length portrait, looking to the right, of an elderly 
man with bald head and long fan-shaped white beard. He is 
dressed in a voluminous robe of velvet and carries in his left 

ies hand a glove, the first finger of his right hand being slightly 
raised. Background of brocaded silk curtain which conceals 
half of the stone niche in which the subject stands. On the 
extreme right is the face of a wall with molded cornice. In 
a contemporary carved and gilt wood frame. 


Height, 59 inches; width, 47 mches. 


(Illustrated) 


“PoRTRAIT OF VENETIAN AMBASSADOR” 


retto) 


(By Jacopo Robusti—called Jl Tinto 


TAPESTRIES 


Despite the admirable work of the tapestry-weavers of Fer- 
rara and Florence, it is nevertheless unquestionable that the art of 
tapestry-making was never thoroughly acclimatized in Italy. That 
the rooms of the Roman, Florentine and Venetian Palaces were 
hung with these unrivaled wall-coverings, however, is equally beyond 
all question, and hence it is that during the sixteenth and seventeenth 
centuries the ateliers of Flanders and France found a ready market 
for their wares in the southern community. 

It follows, then, that though the tapestries here catalogued have 
for centuries hung on Italian walls, though more than one was. woven 
after the design of an Italian painter, they were, with few exceptions, 
actually woven in other countries and that, therefore, by adoption 
only are they Italian. 


Eee 


Third and Last Afternoon 


448—SIXTEENTH CENTURY ‘TAPESTRY PANEL OF FLORENTINE 


DEsIGN AND FLEMISH WEAVE A. - oe 
Subject, probably illustrating an episode in a a eae <a 


novello, of a youth and a maiden arm in arm, their other arms 
outstretched, running in haste out of a wood of wild brown 
/éF © tree trunks and green leaves. ‘They are dressed in early six- 
teenth century costumes, the youth with a red jerkin, the maiden 
with a yellow robe; both have red hose but are without shoes. 
On the right is a tall plant of fox-glove and on the left a stream 
of water on the surface of which is a gondola with a man and 
a woman and, on the far bank, a church. In old carved and 


gilt wood frame. 
Height, 4 feet 3 inches; width, 4 feet 7 iches. 


Third and Last Afternoon Ke 


“ 


449—FIFTEENTH CENTURY FLEMISH VERDURE 'TAPPESTRY MN aes a | 
Rectangular shape. Below on the flower-bedecked bank of wy, aa 
stream is the figure of a couchant stag with the left fore leg “SS 
outstretched. Above, the background is of verdure character ie 
formed of large serrated green leaves against a black back- 
qj 006— ground interspersed with lilies, butterflies and birds in bright 
colors. The border, with a dark blue ground, is of varicolored 
fruits, flowers and leaves, having, in the centers, recumbent, and, 
at the corners, seated figures of women in classic robes and in 

fifteenth century costumes of red and blue. 


Height, 8 feet 11 inches; width, 7 feet 6 inches. 
(Illustrated) 


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No. 449—FirrEentH Century FiemisHo VERDURE TAPESTRY 


Third and Last Afternoon 


450—SIXTEENTH CENTURY ITALIAN TAPESTRY “v22. Zee ADrallin 
Center of a “Verdure” character on a dark ground, having, be- 
low, the figures of a reddish brown stag with branching antlers 
and a spotted giraffe, and above, the figure of an ostrich-like 
bird, all against a background of green scrolled acanthus leaves 
interspersed with brilliantly colored flowers. ‘The elaborate bor- 
der, of “grotesque” character, with a yellow ground, has on 
the left hand a man, with a dog, playing the bag-pipes, and the — 
AF 00- figures of three women under a canopy surmounted by a vase of 
flowers and two fauns playing pipes; on the right hand the 
figures of a Roman warrior and a woman in sixteenth century 
costume, both holding standards, while above are figures of a 
centaur and a Roman warrior drawing a chariot, and below a 
lady, with pointed headdress, drawing a chariot in which sits 
a monarch. These groups are interspersed with scrollings, 
birds, leaves and flowers, all in blues, greens and brownish 


vellows. 
Height, 9 feet 6 inches; width, 6 feet 6 inches. 


(Illustrated) 


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Third and Last Afternoon 


451—SIXTEENTH CENTURY FLEMISH ‘TAPESTRY UY. 
The tapestry represents a wooded landscape with , house in 


as GO0- 


the extreme distance, a stream of water on the left, and figures 
of deer among the trees. In the middle distance, standing on 
a bridge, are the figures of the Centaur Nessus and Dejanira, 
the wife of Hercules, the latter with a blue over-robe and red 
skirt. The Centaur is handing her the poisoned tunic which 
later caused the death of Hercules. In the foreground is a 
stream with green flags and varicolored water plants on the 
banks and the figures of two cranes, one of which is fighting 
with a serpent. ‘The border is of an elaborate description, the 
inner and outer guards patterned, on red grounds, with double 
meanders of blue and yellow interrupted by Maltese crosses. 
The main border, with a yellow ground, has, at top and bot- 
tom, groups of fruits, flowers and leaves interspersed with 
acanthus-leaf scrolls and voluted strap patternings of red; at 
the sides, separated by panels bordered in red, of fruits, 
flowers and leaves with small masks, are four round-arched ~ 
niches, occupied below with standing figures of Minerva, in 
red corselet and blue robe, with shield and spear, and Jupiter 
with scepter and crown and his eagle, and above with figures, 
in yellow robes over green and blue skirts, of two queens seated 
on thrones and holding scepters. 


Height, 10 feet 7 inches; width, 6 feet 6 mches. 
(Illustrated) 


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No. 451—SIxTEENTH CENTURY FLEMISH TAPESTRY 


Third and Last Afternoon 


452—SEVENTEENTH CENTURY ITALIAN ‘TAPESTRY Tp 


S/00- 


aL. | 
One of the series of “Les Jeux d’Enfants,” consisting of a 


square panel with light yellow ground and a design of floral 
festoon and floral pendants, tied with looped ribbons and 
hanging from rings in the mouths of Medicean lions’ masks. | 
Below are two winged Amorini playing with a Lion and a 
Gorilla, while above are stems of lilies, flying birds and a flying 
Amorino holding in one hand an apple and in the other a 
brazier. Surmounted by an arcaded frieze in yellow with red 
grounds, looped ribbons of blue filling each compartment, and 
is surrounded, on four sides, by a deep border of Greek fret 
pattern in blue on a yellow ground while above is a frieze woven 
in a design of yellow cornucopiz, triple plumes of red, blue and 
green scrollings and looped ribbons on a red ground. 


Height, 10 feet 3 inches; width, 9 feet 1 inch. 


Note: This tapestry has an interesting history. We know, from 
Vasari, that Giovanni d’Udine, a pupil of Raphael, designed for Pope 
Leo X (Giovanni de’ Medici) a series of cartoons called “The Playing 
Children” which were woven in Flanders. During the siege of Rome 
these tapestries were lost beyond recall. In the seventeenth century 
Pope Urban VIII (Barberini) ordered firstly from Pietro Paolo de 
Gubernatis, and secondly from Romanelli, copies of d’Udine’s cartoons, 
which (1687-1642) were woven by the famous weaver Giacomo della 
Riviera and after his death by his son-in-law Gaspara Rocchi. It is 
to this series, on the authority of Eugene Miintz (“Les Tapisseries de 
Raphaél au Vatican,” Paris, 1897), that this tapestry, formerly in the 
possession of the Princess Mathilde, in the catalogue of whose sale, 
at Paris in 1904, it is illustrated as No. 448, undoubtedly belonged. 
It may be added that Eugene Miintz also illustrates this tapestry in 
his book to which reference is made above. 


(Illustrated) 


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Third and Last Afternoon 


453—SIXTEENTH CENTURY FLEMISH ‘TAPESTRY DY, 


400 0- 


In the center is a “landscape” subject having in the fo eground - 
a green meadow besprinkled with varicolored flowers and very 
fully occupied with figures of cavaliers on horseback, a warrior 
with a shield and sword and a shepherd with a crook. In the 
foreground are two leopards facing each other and with an 
oval medallion between them, and also a leopard fighting with 
a serpent. In the middle distance are trees and a palace, of 

various colors, with a cupola, and the figures of women, one 
under a yellow pergola and another in a pavilion, and in the 
distance a landscape with buildings and a church. The border, 
with a yellow ground, and inner and outer guards of spiral 
ribbonings on brown grounds, has on the left a figure of Mi- 
nerva, on the right a figure of Juno, both under canopies; — 
above, figures of queens in blue and yellow robes seated on 
thrones under round arches, and in the lower corners, figures 
of women in chariots, one drawn by horses, the other by 
leopards. Above is a vase of flowers, flanked by seated female 
figures, and below, the figures of a seated woman with children. 
Separating the groups are vases of flowers and floral scrolls. 


Height, 11 feet 2 inches; width, 10 feet 10 inches. 
(Illustrated) 


XTEENTH CENTURY FLEMIsH TAPESTRY 


453—S1 


No 


Third and Last Afternoon 


454—SEVENTEENTH CENTURY GOBELINS TAPESTRY (7 G1>22 LOGEC - a 


4ZDOO- 


Subject of “The Gardeners.” On the left is a marble fountain 
surmounted by the figure of a couchant Grecian sphinx and in 
the foreground the figures of three Putti, two in bright red, 
and one in light brown robes, engaged in gardening tasks, one 
pruning a branch of a tree, one carrying a panier of wickerwork 
and one pulling weeds. In the middle distance are trees in 
full foliage and in the distance a view of a formal Italian gar- 
den, a palace building, mountains and a blue sky. The border, 
with inner guard of water leaf and outer guard of egg and 


dart design, has a shaded blue ground patterned with vari- | 


colored acanthus-leaf scrollings, floral bouquets and oval me- 


dallions of yellow occupied by red vases of green leaves and — 


flowers. 
Height, 10 feet 10 inches; width, 15 feet 1 inch. 


(Illustrated) 


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Third and Last Afternoon 


455—SEVENTEENTH CENTURY F'LEMISH TAPESTRY @ Gitrr2E “ 
The subject represents “Europa landing in America.” On 
the left is seen the carved prow of Columbus’ ship, in brown, | 
with the name “Fortuna” in black. On the shell-strewn shore in — 
the center of the foreground stands Europa with flowing light- _ 
Z/O0- colored robes and plumed head-dress, holding an arrow in her | 
right hand and with a crocodile at her side. Surrounding her 
are five other female figures in bright blues, reds and greens 
and with feather head-dresses, representing the savage tribes 
of America. One holds a gaily colored parrot, another opens 
a casket of jewels. On the right are palm trees, on the left 
a tree with green leaves and large fruits and a fold of red drap- 
ery flung over one bough, while in the distance is the blue sea 
and a rocky coast with palm trees. The border represents a 
picture frame of brown with a fascia of acanthus-leaf scrolls, 
and festoons, pendants and bunches of flowers in AL colors 
at the corner and in the centers. 


Height, 11 feet 6 inches; width, 15 feet. 
(Illustrated) 


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Third and Last Afternoon 


456—SIXTEENTH CENTURY RUG OF WESTERN ASIA MInor WEAVE 


Red field, patterned with interlacements and geometrically 
conventionalized leaf forms in yellow outlined in black and with 

SZ 0- Passages of light blue and red. Inner and outer guards of a 
red scroll on a blue ground. The border, with a dark blue 
ground, has a pattern of flowers, with hook scrolls, in red with 
pale blue centers, separated by rayed circular medallions and 
quatrefoiled blossoms of pale blue and yellow. 


Length, 5 feet 9 inches; width, 3 feet 10 inches. 


457—SIXTEENTH CENTURY RucG or WESTERN Asta Minor WEAVE 2 
Field with red ground, patterned with interlacements of a ahaa q 
metrically conventionalized flowers and leaf forms in yellow a 
outlined with black and with passages of blue outlined in red. 

-2,-. Border, with brown ground patterned with quatrefoil panels, | 
et formed by blue interlacements and occupied by hexagonal me- 
dallions in yellow and dark blue, the spaces between the panels 
being occupied by conventional lilies in rose and red, with 
touches of blue and white. Outer guard of an angular meander 
in yellow on a red ground. 


Length, 5 feet 5 inches; width, 3 feet 10 inches. 


458—SIXTEENTH CENTURY PRAYER Rue oF CENTRAL AstA MINOR 
Weave UY Bee 
The stepped and pointed-arch mihrab has a plain red ground 
o, LO - and a sky of yellow ground patterned with conventionalized 
flowers and leaf forms in red, brown and white. ‘The inner 
guard is of diagonal stripings of red and blue on a white ground; 
the border, with a yellow ground, has octagonal panels of 
varicolored rosetted leaf forms, and the outer guard is of red, 
blue and white rosettes and leaves on a black ground. 


Length, 5 feet 6 inches; width, 3 feet 11 inches. 


Third and Last Afternoon 


459—SIXTEENTH CENTURY RuG oF WESTERN AsiA Minor WEAVE 


Field, with a red ground, patterned with interlacements and 
conventionalized leaf forms in yellow outlined in black and . 
Lso- with passages of blue. Inner and outer guards of a red ribbon eae eas 
meander outlined in black on a yellow ground and border of 
quatrefoiled flowers and trefoiled leaves in rose, red and yellow 
on a blue ground. 
Length, 5 feet 9 inches; width, 3 feet 10 inches. 


460—SIXTEENTH CrentTuRY RuG oF ARMENIAN WEAVE GY Sees 


Field, with a yellow ground, patterned with elongated quatre- 
foil-shaped pointed medallions and highly conventionalized 

Mo 7O- dragon forms in red with passages of blue. Inner guard of 
vellow scrolls on a red ground, border of trefoil-shaped flowers 
and leaves in brown and yellow, outlined in red, on a blue 
ground, and outer guard of yellow scrollings and blue hexagonal 
rosettes on a red ground. 


Length, 5 feet 11 inches; width, 3 feet 9 inches. 


461—SIXTEENTH CENTURY RuG oF WESTERN Asta MINorR WEAVE | 
The field has a central hexagonal panel with a red ground pat- Fa 
terned with flowers and leaves in white, red, yellow and blue, 
and a dark blue ground at the angles patterned with circular 
ws  O- flower forms in white with red and yellow centers and pointed 
leaves in red. Inner guard of quatrefoil rosettes in white, yel- 
low and blue outlined in black on a red ground, border of 
pointed quatrefoiled panels with red ground and diamond- 
shaped centers in yellow and white enclosing circular blue and 
red rosettes, and outer guard of red quatrefoil rosettes on a 
white ground. 
Length, 5 feet 9 inches; width, 4 feet. 


Third and Last Afternoon 


462—SIXTEENTH CENTURY RuG or WesTERN Asta Minor WEAVE 


Field, with red ground, patterned with interlacements and con- 
ventionalized flower and leaf forms in yellow outlined in black 4 
with passages of light and dark blue. The border is of quatre- @~ WAZ.gy 
Zs 3 0- foil-shaped medallions with red grounds and diamond-shaped a 
centers enclosing crosses in yellow and red, and of red and 
blue, buff and green lily forms, on a yellow ground, and the 
outer guard is of yellow and light and dark blue floral sprays 


on a red ground. 
Length, 5 feet 3 inches; width, 4 feet. 


SIXTEENTH CENTURY RuG oF WESTERN Asta Mrnor WEAVE 
The field, with a red ground, is patterned with interlacements 
and conventionalized leaf forms in yellow outlined in black, 
S G06 with passages of light and dark blue and rose color. The imner 

and outer guards are of red meanders with black fleurettes on 
a blue ground, and the border is of hook scrolls, bordered leaves 
and flowers in red, and quatrefoiled flowers and leaves of rose 
color, red, blue and white on a dark blue ground. 


463 


Length, 5 feet 9 inches; width, 4& feet. 


464—SIXTEENTH CrenTURY Rue or CENTRAL AstA Minor WEAVE 
The field, on a blue ground bordered with red and white flow- 

ers, has a central hexagonal panel with a red ground occupied 

by hook patternings in green and floral rosettes in green and 

j blue. The inner guard is of S-shaped scrolls in rose color, blue 
A/O- and dark red on a green ground, the border is of varicolored 
serrated leaves and rosettes on a brown ground, and the outer 

guard is of scrolled serrated leaves and flowers in red and green 


on a white ground. 
Length, 7 feet; width, 3 feet 11 inches. 


Third and Last Afternoon 


465—SIXTEENTH CENTURY RUG oF WESTERN ASIA Minor WEAVE 


Field, with a red ground, patterned with interlacements and 
geometrically conventionalized flower and leaf forms in yel- 
low outlined in black, with passages of blue outlined in ad C. Edanande 
A60- Tyner guard of a red and white meander outlined in black on 
a blue ground, border of hexagonal figures and eight-pointed 
stars in white, red and yellow with touches of red and blue on 
a yellow ground, and outer guard of a red meander with blue 


and white tulip flowers outlined in red on a black ground. 
Length, 5 feet 9 inches; width, 3 feet 9 inches. 


FURNITURE OF THE SIXTEENTH, SEVENTEENTH AND 
EIGHTEENTH CENTURIES 


466—FIFTEENTH CENTURY NortH Iratian WALNUT SMALL 
COFFER : , QW BL AL p14 ay rs 
Rectangular shape. Molded hinged lid secured by contempo- WA, 

rary lock. Front, with tenoned angles, divided, by a stile with 

molded panel enclosing an inscription in Roman capitals, into 

B FO- two square panels carved with laurel-leaf wreaths tied with 

knotted ribbons enclosing carved profile bust portraits of 

Collatinus and his wife Lucretia, inscribed ““COLETINUS” 

and “LUCRETIA.” Molded base and turned feet. 


Height, 1 foot 2 inches; length, 2 feet 3 inches; width, 1 foot 4 inches. 


Third and Last Afternoon 


467—Patr or SEVENTEENTH CENTURY VENETIAN WALNUT PRrieE- 
Sy. deni een ROY Wee. Bowes 

oa Molded cornices with friezes boldly carved with acanthus-leaf 
xa b- scrollings, supported by Putti holding fluted acanthus-leaf 
carved and voluted cornucopie filled with fruits and leaves. 

On molded bases. 


Height, 3 feet; width, 2 feet 2 inches. 


Third and Last Afternoon 


468—SIXTEENTH CENTURY UMBRIAN CARVED WALNUT PRIE-DIEU -» —W— 


Rectangular shape. Desk with molded top, and frieze with ~*~ 
incised scrollings broken in front by four square dies with 
If turned medallions, supported by fluted composite pilasters 
having in the center a round-arched opening and at the sides 
arched niches, with carved voluted aprons. Square molded 
kneeling platform carved in a pattern of hexafoil rosettes. 


Height, 2 feet 10 inches; width, 3 feet 5 inches. 


Third and Last Afternoon 


OBS BE BL BE BASLE SERS 2 


469—SixtEENTH CenTuRY Tuscan Watnur Priz-piru 4? Tex for 


Rectangular shape. Molded and fluted cornice with paneled 
//0- frieze. Paneled front flanked by square fluted and astragalled 


columns and voluted consoles. Molded and paneled base. 


Height, 3 feet; width, 2 feet 4 mches. 


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Third and Last Afternoon 


470—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET w%, 2, 0 vy - 
Rectangular shape, with molded cornice supported by two | sate 
finely carved female caryatids holding lions’ masks from whose 
mouths hang drapery festoons, pendants of fruits and tassels. 
& 00- The recessed body is divided into fifteen drawers with paneled 
fronts and bronze swing handles, and a central compartment 
with hinged paneled door framed with a portico of fluted Doric 
pilasters supporting a broken pediment. Molded base. 


Height, 2 feet 4 inches; length, 3 feet 4 inches; depth, 1 foot 4 inches. 


Third and Last Afternoon 


471—SIXTEENTH CENTURY TUSCAN WALNUT CABINET -4y \ py ~~ 


UY It 0 


Rectangular shape. Molded top, the frieze carved with acan- 
thus-leaf double scroll. The body arranged as cupboard with 
two hinged doors having paneled fronts decorated with six- 

~ winged cherubim carved in high relief, and flanked by two 
molded panels decorated with carved masks supporting fruit 
and drapery pendants. All carving heightened by gilding. On 
molded base with voluted scroll feet. 


Height, 3 feet 5 inches; width, 8 feet 4 mches; depth, 1 foot 4 inches. 


Third and Last Afternoon 


472— FIFTEENTH CENTURY FLORENTINE WatNuT Writine DEsk ae 
Rectangular shape. Hinged sloping and dentelled top, serving A fetneer 
as writing surface and lid-top desk. Below the body is ar- 
}p & ranged as a deeply recessed cupboard with two twin paneled 
hinged doors, with thin paneled projecting pedestals and pan- 
eled sides. Molded base. 


Height, 2 feet 10 inches; width, 2 feet 8 inches; depth, 1 foot 4 inches. 


Third and Last Afternoon 


473—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET Ve HD 2tradci 
Rectangular shaped. Molded top, frieze fitted with tw i sunk 
_ paneled drawers with handles carved as rams’ heads flanked 
with scrollings. Lower part arranged as cupboard with two 
Jf VS hinged doors having paneled fronts with raised molding and 
carved lions’ masks holding bronze rings in the centers, sepa- 
rated and flanked by tapering fluted and astragalled pilasters 
with voluted capitals and extending into the frieze and carved 
with children’s masks, festoons, and pendants of drapery. On 
molded broken bases and molded platform base. 


. 


Height, 4 feet 6 inches; length, 6 feet 9 inches. 


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Third and Last Afternoon 


ViViMAvI Pi FIP VIBINIIFIPLEIPIFI SL PIPL PINT fattul AUT Hibtil VIFIVIVIFIDIELPI VINCI PIMIPIDIELEI PLY NII Bit1 PIV INIPL FAP BIP PIPL NIPIPTE Winer FI vIeIVits 


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474—SIXTEENTH Century Tuscan Watnut CaBINET “~’ SA. wa 
Rectangular shape, with molded and fluted cornice. The a apron 
is divided into three drawers with paneled fronts and wooden 
ff 6b-nobs separated and flanked by voluted acanthus-leaf curved 
brackets. The lower portion is arranged as a cupboard, with 
two hinged doors with paneled fronts and wooden knobs, sepa- 
rated by heavily molded panels and flanked at the extremities 
by two voluted consoles with imbricated fronts and carved 
acanthus leaves above. On molded base, with lions’ paw feet. 


Height, 3 feet 8 inches; length, 6 feet 5 inches; depth, 2 feet. 


Third and Last Afternoon 


475—SIXTEENTH CENTURY BOLOGNESE WALNUT TABLE A.D 
Rectangular shape. Plain top with apron divided into three 
4-y panel fronted drawers with wooden knobs. Supported on four 
~~ square chamfered legs with shaped side brackets, square rails 
and square molded feet. 


Height, 2 feet 61% inches; length, 6 feet; width, 2 feet 334 wches. 


Third and Last Afternoon 


476—SIXTEENTH CENTURY FLORENTINE WALNUT TABLE 


Rectangular shape. Heavy top, with molded and fluted edge, 
molded and shaped apron, fitted with drawer with paneled 


LS front and wooden knob flanked by molded panels and rosetted 


dies. Supported on four turned baluster-shaped legs with 
rails shaped to correspond with apron above and four square 
molded and rosetted feet. 


Height, 2 feet 10 inches; length, 4 feet 6 inches; width, 3 feet 4 inches. 


Third and Last Afternoon 


477—SIXTEENTH CENTURY TuscAN WALNUT CABINET { Zz. P 


Rectangular shape, with molded cornice. The 4pron is ar- 
ranged with two drawers, having paneled fronts and wooden 
knobs, separated and flanked by three square dies carved with 

SA, Z- rosettes. The lower portion is divided into cupboards with two 
hinged doors, separated and flanked by three scrolled consoles 
carved with the heads of cherubim and a bearded man and 
supporting drapery fastoons and pendants of fruit. Molded 
and fluted base and carved bracket feet. 


Height, 4 feet 2 inches; length, 5 feet 8 inches; depth, 2 feet 2 inches. 


Third and Last Afternoon 


478—SIXTEENTH CENTURY Brescian WaLNuT CABINET (7, #? OES OS 


SO00- 


Rectangular shape. Molded and dentelled top, the frieze fit- 
ted with three drawers having paneled fronts and bronze knobs. 
Separated and flanked by voluted medallions with imbricated 
fronts. Below, the body is arranged as a cupboard with three 
hinged doors, having molded paneled fronts, each with two 
raised panels inlaid in a design of Renaissance arabesques, 
separated and flanked by Ionic pilasters with shafts of female 
caryatids having acanthus-leaf and tapering imbricated ter- 
minations. Plain plinth and molded base. 


Height, 4 feet 4 inches; width, 6 feet 10 inches; depth, 2 feet 2 inches. 


Third and Last Afternoon 


Pe LER ECE CE EEE OER E BERR eee WIE ye eee eS eh ee eee eee ey ; te ae ick Ok kk ak el 


a 2 


is PI Ait Aig wep F say ’ i? ot “ 


479—SIXTEENTH CENTURY Tuscan WaLNutT CABINET qypgz g. LL I 
Rectangular shape, with molded and fluted cornice. The afron 5. a 
is arranged with three drawers having paneled and fluted - 
fronts with carved wooden knobs separated and flanked by four 

JL iO-  voluted and fluted brackets. ‘The lower portion is divided into 
three cupboards with hinged doors having paneled fronts with 
applied carved circular medallions and. a scrolled escutcheon 
of a coat-of-arms. ‘These doors are separated and flanked by 
vertical narrow panels carved with a rosetted patterning. On 
molded and fluted base with carved paw feet. 


Height, 3 feet 11 inches; length, 7 feet 5 inches; depth, 2 feet 1 mch. 


‘ 
Se eee seoone 


Third and Last Afternoon 


480—SIXTEENTH CENTURY FLORENTINE [NLAID WALNUT CassONE af ap 
Rectangular shape. Domed and molded hinged lid secured by — Cechelle 
a contemporary iron lock and molded base. Lid, front sides 
FZ ga- and plinth inlaid with lighter wood. The front and sides with 
panels occupied by Putti holding wreaths enclosing coats-of- 
arms, the lid with the arms of the Counts Bargagli- Petrucci, and 


the plinth with an acanthus-leaf spiral. 
Height, 2 feet 101% inches; length, 6 feet 1 inch; width, 2 feet 4 inches. 


Third and Last Afternoon 


481—SIXTEENTH CENTURY UmBriAN WALNUT COFFER Zz, Onset: 

Rectangular shape. Doomed and molded hinged lid. Body 
supported at the angles by carved acanthus-leaf brackets. 

S00- Front carved in center with banded laurel-leaf wreath, enclos- 
ing scrolled oval escutcheon with coat-of-arms and supported 
by two winged gryphons terminating in volutes and scrolled 
acanthus leaves and flowers. Molded base carved with curved 
gadroons and acanthus leaves and lions’ paw feet. 


Height, 2 feet 5 inches; length, 5 feet 10 inches; width, 2 feet 9 inches. 


Third and Last Afternoon 


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Ae ce ee Roe ce oe ae ae ee eae 
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BFA SAUL fake 2 Tas 


tad e ew x. £ & OS 


482—SIXTEENTH CENTURY UmBRIAN WALNUT CABINET Doe ge lecwe™ 
Rectangular shape. Molded and fluted top, the frieze fitted” 
with three drawers, having paneled fronts carved in a guilloche 
patterning and wooden knobs, separated and flanked by acan- 


boards with three hinged paneled doors, the centers carved wi 


'20- thus-leaf fronted voluted medallions. Body arranged as cup- 


th 


a scrolled cartouche bearing the three bees, the arms of the 
Barberini family, and with two grotesque masks. ‘These doors 
are separated by panels carved with guilloche patterning and 
flanked by panels to correspond, carved with cable patternings. 


Molded, fluted and astragalled base and lions’ paw feet. 


Height, 3 feet 11 inches; width, 7 feet 41 inches; depth, 1 foot 10 inches. 


Third and Last Afternoon 


483—SIXTEENTH CENTURY VENETIAN WALNUT CABINET TABLe Z fk = | 

Octagonal shape. Molded top, with apron carved in bead and _ 7 
reel, guilloche and fluted patternings. On square pedestal 
_. fitted with two drawers, and cupboards below having paneled 
¢//’~ fronts. At the angles are carved winged and acanthus-leaf 
ornamented sphinxes and square dies with rosetted centers. On 

lions’ paw feet. 

Height, 3 feet; diameter, 4 feet 2 wmches. 


Third and Last Afternoon 


484—EHKIGHTEENTH CENTURY ITALIAN WALNUT CABINET ) 


i / 


“4 


Rectangular shape, with serpentine sides and bowéd front. 
Molded and shaped top in two divisions, upper and lower 

229—Pportion fitted with eight cupboards having hinged paneled 
doors, those of the front carved with double voluted figures and 
with keyhole escutcheons to correspond. On molded bases and 
bracket feet carved with C-scrolls. 


Height, 4 feet; width, 5 feet 10 inches; depth, 1 foot 11 inches. 


Third and Last Afternoon 


* 


485—SEVENTEENTH CENTURY ITALIAN TABLE 


Circular shape. ‘Top with molded edge and plain apron sup- 
hs ported on four turned baluster-shaped legs with square rails, 
- square crossed stretchers and turned feet. 


Height, 2 feet 7 inches; diameter, 4 feet 5 inches. 


Third and Last Afternoon 


486—SEVENTEENTH CENTURY BOLOGNESE WALNUT TABLE ~~~ 
Oval shape. Heavy plain top, with two square underbraces 
-,— having shaped ends and six square legs having square upper 


ae) ie 
‘ and lower rails, the former supported by shaped side brackets. 


Height, 2 feet 61% inches; length, 5 feet 10 inches; width, 4 feet 
3 inches. 


Third and Last Afternoon 


487—SIXTEENTH CENTURY FLORENTINE WALNUT TABLE 


Rectangular shape. Top with molded edge, apron divided into 

} two panel-fronted drawers with wooden knobs, flanked by 

MPe _nancled dies. Supported on four turned baluster-shaped legs 
on square molded feet with square rails. 


Height, 2 feet 9 inches; length, 6 feet 6 inches; width, 3 feet 1 inch. 


Third and Last Afternoon 


eee sess sess 


488—SIXTEENTH CENTURY FLORENTINE WALNUT Taste & ra 2 - 


Rectangular shape. Plain top, with apron molded, shaped 
and carved with voluted and oval medallions bearing the arms 
of the Guicciardini family of Florence. Supported on square 

Z00- slightly tapering legs with projecting shaped and molded 
brackets at the sides. Rectangular rails and square molded 
feet. 


From the Guicciardini family of Florence. 


Height, 2 feet 9 inches; length, 5 feet 1134 inches; width, 3 feet 11 
inches. 


Third and Last Afternoon 


489—SIXTEENTH CENTURY SIENESE PAINTED ARMOIRE oh db CochetllEz 


Rectangular-shaped. The body, with molded cornice, is 
arranged as a cupboard with four paneled hinged doors, hay- 
ing wooden knobs and fronts tempera-painted in colors, on a 

J// Lf-— white ground, with Renaissance “grotesques” consisting of 
Amorini, Putti, dogs, squirrels, birds, chimere, fountains, 
scrolled foliage and tablets with inscriptions in Roman char- 
acters. Molded base and shaped bracket feet. 


Height, 5 feet; width, 5 feet 6 inches; depth, 1 foot 7% mches. 


Note: The painting of the armoire is attributed to Baldassare 
Peruzzi of Siena, a noted artist who was a contemporary of Raphael. 


Third and Last Afternoon 


490—SIXTEENTH CENTURY FLORENTINE INLAID WALNUT CaBINET,©), GY. 

Rectangular shape, in two portions. The upper portion, with . re oe a 

molded and dentelled cornice and frieze inlaid with diamond- 

shaped interlacements supported on two plain pilasters with 

molded sunken panels inlaid with a geometrical patterning, 

oh F0- is arranged as a cupboard with two hinged doors having paneled 

fronts, the center inlaid in the design of crosses surrounded by 

a border of inlay in a pattern of interlacements and with 

bronze knobs. The lower portion exactly repeats the upper, 

from which it is separated by a molding and frieze set with four 
star-shaped rosettes of bronze. Molded base and bracket feet. 


Height, 6 feet 3 inches; width, 5 feet 8 inches; depth, 2 feet 4 inches. 


Third and Last Afternoon 


491—Sixreentu Century Tuscan WaLnur Tas | eS Xi bh ancer 
ngs . 


Octagonal shape. Plain heavy top, with rosetted studdi 

SSO —™ the edges. Supported on scrolled tripod pedestal with 
turned and carved pineapple finial. The legs are carved with 
incised volutes at the tops and end in lions’ paw feet. 


Height, 2 feet 101% inches; diameter, 3 feet 914 inches. 


Third and Last Afternoon 
rere mene ee est en ee ne ee ed 


492—SIXTEENTH CENTURY BrRESCIAN WaLNUT TABLE POE ine er 
Octagonal shape. Heavy plain top with cross underbraces 
supported on square pedestal and tripod with three curved 
Vi 72 legs, the fronts carved with water leaves, the sides with acanthus 
leaves and ending in lions’ paws. The pedestal is finished be- 
low with a carved molding and a large pineapple pendant. 


Height, 2 feet 1014 inches; diameter, 4 feet 134 inches. 


Third and Last Afternoon 


493—FIrtEENTH CENTURY FLORENTINE WALNUT TABLE 97 


Rectangular shape, with top and apron. Supported on four 
shaped brackets and fitted with two drawers having paneled 

44~ fronts and wooden knobs. Pedestal formed as a cabinet with 
paneled sides and ends, the space above as a drawer with looped 
swing handle. Shaped cross feet. 


Height, 2 feet 814 inches; length, 4 feet 314 inches; width, 3 feet 
734 wmches. 


Third and Last Afternoon 


2 K 


errier rer eyert 


494—SIXTEENTH CENTURY TuscAN WaLNuT TABLE _ mete, C t 
Rectangular shape. Top with molded and fluted edge and WE y 


coved molded and panel apron. Supported at either end on 

4 300 -\yre-shaped legs with voluted sides, ending in boldly carved 
lions’ paw feet carved with oval medallions of coats-of-arms 
and with fleur-de-lis shaped pendants. 


Height, 2 feet 614 inches; length, 6 feet 1 inch; width, 8 feet 2 wnches. 


Third and Last Afternoon 


495—SIXTEENTH CENTURY FLORENTINE WaLNUT Dintnc TABLE Pe 
Rectangular shape. Plain top, with coved and molded apron fecr 
‘OLE — interrupted by molded brackets. Supported on three plain 
lyre-shaped legs with molded cross bases. 
Height, 2 feet 734 inches; length, 10 feet 614 inches; width, 2 feet Ss 4 
334 inches. 


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496— KIGHTEENTH CENTURY VENETIAN PAINTED WALNUT TABLE x ; | 


Rectangular shape. ‘Top with molded and acanthus-leaf carved 
edge. Supported on three vase-shaped flat columnar, fluted 
and astragalled legs with acanthus-leaf carved shaped cross 


AZ ¥00- bases. Longitudinal shaped and molded stretcher with square 
acanthus-leaf carved baluster-shaped finials. Painted blue, 


heightened with gold. 
Height, 2 feet 8 inches; length, 12 feet 2 inches; width, 2 feet 5 inches. 


Third and Last Afternoon 


497—FIFTEENTH CENTURY TUSCAN WALNUT FIRESIDE SETTEE 


” 


Rectangular shape. Formed as a chest with hinged lid forming 
the seat. Front divided into two molded panels by a plain 
a Gb- stile, shaped apron and straight paneled sides forming legs. 
Arms formed of two boldly carved acanthus-leaf voluted scrolls. 


Height, 3 feet 4 inches; width, 5 feet 5 inches; depth, 1 foot 11 inches. 


Third and Last Afternoon 


497A—FIFTEENTH CENTURY UMBRIAN WALNUT TABLE Mammeeconr, apt. 

Rectangular top, with straight edge carved in a pattern of im- “ 
brications, supported on two lyre-shaped legs and brackets of 
modillion outline, the surface carved with bold imbrications. 
The voluted bases are similarly carved and have escutcheons 
occupied by coats-of-arms in their centers. There is a longi- 
tudinal brace carved with leaves and fleurs-de-lis and wedged 
into the legs. | 


// O0- 


’ 4 femme | oe 2 
hn ; i aa 


Height, 2 feet 7% inches; length, 4 feet 10 inches; width, 2 feet — 
11 inches. 


498—SIXTEENTH CENTURY ara TS WALNUT eee maeew a | 
Octagonal shape. Heavy plain top on tripod pedestal, the y, rai 


A#Oo0- sides decorated with scrolled acanthus-leaf and voluted cary- 
| ings, the tripod shaped as three eagles’ legs with voluted knees; 
feather-carved legs and lions’ paw feet. 


Height, 2 feet 9 inphee diameter, 4 feet 8 inches. 


(Illustrated) 


GPIAV], LANIVAA NVIVEWY) AVALNAD HINAGLXIG—86F “ON 


Third and Last Afternoon 


499—SIXTEENTH CENTURY BrescIAN WALNUT ‘TABLE Br. y a - 
; Rectangular shape, with molded and fluted top and apron 
carved in low relief with panels of scrolled oak leaves. Sup- 
ported at either end by rectangular chamfered pedestals, break- 
J GO- ing the apron, and carved with oval coats-of-arms surrounded 
by scrollings and flanked by carved console brackets formed as 
stags’ heads with guilloche patterned voluted bodies, imbricated 
fronts and lions’ paw feet. On molded cross bases. 
Height, 2 feet 10144 inches; length, 6 feet 8 inches; width, 2 feet 11 


inches. 
(Illustrated) 


HIGV], LANIVAA NVIOSHUG AUNINAD) HLINATLXIG—6G6F ‘ON 


Third and Last Afternoon 


500—SIXTEENTH CENTURY Tuscan WALNUT Tasie of Se 
Rectangular shape. Top with molded and carved Atk. 
apron divided by stiles into three drawers with molded panel s 
fronts. Supported on four square baluster-shaped legs with 
///- ~olated and acanthus-leaf carved fronts and sides and con- 
nected by molded and carved rails. On square, turned and 
carved feet. 
From the Palace of the Marchese Galanti of Naples. ; 
Height, 2 feet 111% inches; length, 6 feet 8 inches; width, 2 feet 4 
inches. 


aTUV T, LONIVAA NVOSOYT, AWOLNA) HINGAALXI§—QQG “ON 


Third and Last Afternoon 


501—SIXTEENTH CENTURY UmpriAN Carved WALNUT CaAssONnEg? Zz 
Rectangular shape. Domed and molded hinged lid carved 
with water-leaf patterning and secured with contemporary lock _ 
and key. Frieze carved with quatrefoil rosettes. Body sup-— 
4g. F- ported at angles by two figures of Putti holding bunches of 
grapes and front carved with four figures of Amorini support- 
ing festoons of drapery and trophies of arms. In the center 
is a scrolled ovolo-shaped escutcheon with coat-of-arms. 
Molded base carved with curved gadroons and acanthus-leaf 
shaped and carved apron and lions’ paw feet. 


Height, 2 feet 10 inches; length, 6 feet 1 inch; width, 1 foot 11 inches. 
(Illustrated) : 


502—SIXTEENTH CENTURY UMBRIAN CarRvVED WALNUT CASSONE @¢ Be joa | 

Rectangular shape. Domed and molded hinged lid carved with 3 

water-leaf patterning and secured with contemporary lock and 4 

key. Frieze carved with quatrefoil rosettes. Body supported a 
Be See en ON angles by two figures of Putti holding bunches of grapes ee 

and front carved with four figures of Amorini supporting fes- se 

toons of drapery. In the center is a scrolled ovolo-shaped es- 

cutcheon with coat-of-arms. Molded base carved with curved 

gadroons and acanthus-leaf shaped and carved apron and lions’ 

paw feet. 


Height, 2 feet 10 inches; length, 6 feet 1 inch; width, 1 foot 11 inches. 
(Illustrated) 


ANOSSV/) LONTV AA GHAUV,) NVIVAW/() AWNING) HLNGAALXI§G—ZOG “ON 


ANOSSV‘) LONTV AA GaAUvV’) NvIvaw/) AWOING) HLINGAALXI§—T[OG “ON 


A 


Third and Last Afternoon 


503—SIXTEENTH CENTURY UMmBRIAN CarveD WALNUT CASSONE 
Rectangular sarcophagus shape, with receding curved sides. 
Domed molded hinged lid carved with acanthus-leaf patterning. 
Frieze carved with voluted acanthus leaves. Body supported — 

/ Ph GO— at the angles by female winged caryatids, the front carved with _ 3 
heavy acanthus-leaf and flower scrollings, birds and a grotesque 
mask. In the center is an oval scrolled escutcheon with the coat- 
of-arms of the Marignoli family supported by two Amorini. 
Carving heightened with gilding. Molded base. Supported 


on four carved couchant lions as feet. Bete Xa ay) 4 : 
From the Palace of the Marchese Marignolt of Rome. G a = 
Height, 2 feet 4 mches; length, 5 feet 10 inches; width, 2 feet 1 inch. 7 
(Illustrated) 


504—SIXTEENTH CENTURY UmBriIAN WaLNuT CassoONE @ 


Rectangular shape. Domed and molded hinged lid. Body 
supported at the angles by two youthful caryatid figures ending 
in acanthus leaves and lions’ paw feet. Front divided into two 
Gee shaped panels with bead and reel patterned moldings enclos- 
ing raised panels carved with masks flanked by acanthus-leaf 
scrollings, and separated by a raised circular medallion carved 
with banded acanthus-leaf wreath enclosing a scrolled oval es- 
cutcheon. Carving heightened with gilding. Molded base 

carved with astragalled flutings. 


Height, 2 feet 1 inch; length, 5 feet 8 inches; width, 2 feet 1 inch. 
(Illustrated) 


aNOSSV/) LON TV AA GAHAUVT) NVIUEW/) AWOLINGA’) HLNAHLXIS 


S09 “ON 
ANOSSV() LONIVAA NVIUMNE) AMAINAD HINATLXIG—FOG “ON 


i ns OR i 


Third and Last Afternoon 


505—SIXTEENTH CENTURY ITALIAN WALNUT CABINET AND STAND £5 | 


400 — 


Rectangular shaped cabinet, with molded cornice enriched with en “3 
modillions and bead and reel course. Frieze fitted with two 
drawers, having molded panel fronts, separated and flanked by a 
molded paneled dies. Below is a hinged fall front enclosing a eit: 4 
cabinet fitted with four paneled front drawers, a central mG, if, a 
partment having hinged door with arched niche surrounded : 

by portico of broken pediment supported by two female carya- 
tids and fitted inside with pigeonhole and drawer, and two side 
compartments having hinged doors with arched niches sur- 
mounted by broken pediments supported by caryatids. These 
side compartments are fitted with pigeonholes and panel-fronted 
drawers. ‘The fall front is mounted with shaped wrought-iron 
keyhole escutcheon and two floriated bolt plates. 

The stand has molded top, frieze fitted with panel-fronted 
drawer flanked by molded panels, four turned columnar legs 
with rosetted caps and bases and square rails carved on the 
upper surfaces with flutings. ‘Turned ball feet. 


a i 
ae { 
Vg Fi ; 
Lb AM 
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mete 
we hs 
R ~ 


Height, 5 feet 51 inches; width, 2 feet 10 inches. 
(Illustrated) 


No. 505—Sixtreenry Century IrTaian Waunvut Capinet anp STAND sd | 


Third and Last Afternoon 


506—SIxTEENTH CENTURY FLORENTINE WALNUT CABINET 


B3O00- 


Rectangular shape, in two parts. The upper part is forme (7 . 


as a cabinet with molded and fluted cornice supported by two 
female caryatid pilasters terminating in coats-of-arms of the 
Medici family surmounted by Cardinals’ hats and voluted 
scrollings. The cabinet is divided into twelve drawers with 
paneled fronts and two cupboards with hinged doors, all with 
bronze loop handles. ‘The lower part has a molded top with 


frieze, formed as a drawer with two bronze looped swing 


handles, supported by two plain pilasters on plain plinth with 
molded base carved with voluted scrolls and supported on 
lions’ paw feet. The body is formed as a cupboard with two 
hinged doors, having paneled and rosette carved fronts with 
wooden knobs. ; 


Height, 5 feet 4 inches; width, 3 feet 2 inches; depth, 1 foot 10 inches. 
| (Illustrated) ; 


RS arti lin, Ne nt Vg ig em 


oa a 
is sigisslsislsisistsis® 


A 


No. 506—SIxTEENTH C 


ENTURY FLORENTINE Watnut CABINET 


Third and Last Afternoon 


507—SIXTEENTH CENTURY UMBRIAN CARVED WALNUT CABINET 


£00 


Rectangular shape, made in two portions. The upper portion, 


with molded cornice and frieze carved with cherubim and strap- 
work scrolling supported by three male and female caryatids 


terminating in draperies and double voluted, is arranged “U/ (7. a 
7 QM Ab 
| 4 


a cupboard with two paneled hinged doors, their fronts carve 

with a pattern of scrolled draperies and with female masks in 
the centers. Plinth fitted with two drawers with scroll-carved 
fronts and wooden knobs separated and flanked by acanthus- 
leaf carved modillions and base molded. The molded top and 


frieze fitted with two drawers having acanthus scroll-carved 


fronts separated by acanthus-leaf modillions; of the lower por- 
tion are supported by three male and female caryatids terminat- 
ing in draperies and double volutes, between which are two 
paneled hinged doors, their fronts carved in low relief with 


acanthus-leaf scrolls, diapers and circular rosettes. Molded — 


base and plain pedestal feet. 


Height, 6 feet 1 inch; width, 4 feet 5 inches; depth, 1 foot 9 inches. 
(Illustrated) | 


a 


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i 


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nae 4 
a 


a 
iu 
be 


No. 507—SIxTEENTH CENTURY UmBRIAN CARVED WaALNnut CABINET 


Third and Last Afternoon 


508—SIxTEENTH CentURY Umprtan Carvep WaLnut Cassone 
Rectangular sarcophagus shape, with receding sides. Domed 
and molded hinged lid carved with pointed scroll and egg-and- 
24/3 dart patternings. Frieze carved with rosetted and acanthus-leaf 
rinceaux. Front and sides boldly carved with acanthus leaves, 
masks, volutes and emblematic figures of Justice and Mercy, 
having in the center a scrolled escutcheon of a coat-of-arms 
surmounted by a helmet and supported by two Putti. On 


carved lions’ paw feet. | O age 
Height, 2 feet 7 inches; length, 6 feet 344 inches; width, 2 feet. Fab 


(Illustrated) 


509—Pair OF SIXTEENTH CENTURY VENETIAN GILDED WaLNu 
CASSONI ti ae plsemceey 

Rectangular shape, with hinged sunken paneled lid mélded 
and carved with flutings, chest having cornice carved with egg- 
and-dart patterning and front sunken panel surrounded by 
molding carved with loop and leaf pattern and containing fig- 
ure of a reclining bearded man holding a cornucopia carved in 

Jb g_O- high relief and surrounded and flanked by bold voluted seroll- 
ings and festoons of fruits. Broad projecting pilasters at the 
side, the shafts having sunken panels with carved moldings and 
containing scrolled masks with foliage, festoons and drapery 
pendants. Molded base carved with voluted fan-shaped pat- 
terning and feet carved as grotesque masks flanked by voluted 
scrollings. ‘The carving is enriched by gilding. | 


From the Palace of the Marchese Montaglari of Venice. 


Height, 1 foot 9% inches; length, 5 feet 734 inches; width, 1 foot 
101% inches. 
(Illustrated) 


ANOSSV) LONIVAA GHAUVD NVIUMW) AMNLINAD) HINAALXIS—80G “ON 


INOSSV) LANIVAA CACTI) NVILANHA AUNINAD HINATLXIG 10 Vd — 60% "ON 


ae, A hse a Nak 


Pi 


vw 
ENR ONIN 


LS 


I 
i 
' 
i 
= 
: 


Pe «<} F 


FE EET OME AL EIEE DAE Be © OP ORE ELE EE MD COPE PRE RAEM EE REDE EEE OE BE EER RE EE EAR EE ERA I EE PA EES 


i a eg erence a 


Third and Last Afternoon 


510—Two SrxTrentH CENTURY BoLOGNESE WALNUT CassoNI 
Rectangular shaped, with hinged and paneled lid with edge 5 
carved with flutings and cornice enriched with dentels. Front a 
divided into two panels surrounded by carved moldings and , a 
/00 Aa occupied by an inlaid shaped, oblong medallion with an heraldic q 
eagle, surmounted by a Ducal Coronet and flanked by two | 
passant lions. These panels are separated by a carved, scrolled — 
and voluted escutcheon with an egg-shaped center carved with - 
a coat-of-arms surmounted by a helmet flanked by acanthus- 
leaf mantlings. At the angles are caryatid figures of winged 
Grecian female sphinxes terminating in grotesque masks and 
volutes. Molded base carved with reel and ball and voluted 
shell ornamentation and having in the i. a carved lion mask. 


On carved paw feet. yy ; 1/2 Jy 


Height, 2 feet 1, inch; length, 6 feet; width, 3 foot 1114 inches. 


(Illustrated) 


511—SIXTEENTH CENTURY TUSCAN WALNUT COFFER W Lace Goll 


Rectangular shape. Molded and fluted hinged lid, with con- 
temporary lock and key. Recessed front with one long panel, 
surrounded by a molding carved with guilloche patterning, 
9/O-— acanthus leaves and fluting, and flanked by two paneled pilas- 
ters with water-leaf carved moldings and shafts carved with 
acanthus-leaf and cinquefoil carved rinceaux supporting vases 
of fruits. Molded and water-leaf carved base and double vo- 
luted scroll feet. 


So ie 


oe 


a a 


catechol si a 


bls » re 


Wyre 


Height, 1 foot 11 inches; width, 2 feet. — | 
(Illustrated) 


INOSSV() LONTIV AA ASHNOVOTOG AYVOQINGA ) HLNADLXIS OMTEL—OLG “ON 


UALAOD) LOANIVAA NVOSQT, AYMNLNAD) HLINATLXIG—T[[G ‘ON 


5s 5545, 


Saar, <enepeemertannesagype(steicrprorenna manent tt BS eB 


= 


geen eed 


yeni es 


monger 


qritir 


REAL AT AS AS ASAD 


Ris Se eee 1 See 


~~ 
OR A 
3 Py Ri RB Bell Bd Bly Dad Beg Be 


Was 


~*~ 


et de od 
LESLEY 
ARENT 


aN 


TETHER EAR ATE AUR ae ae ea ee 


* a spt 


SRR AAs LAR Ae Lae AL ALS ALAA ee ae imiee 


& 
¥ 4 « 


Third and Last Afternoon 


512—-SIxTEENTH CENTURY LIGURIAN CARVED WALNUT CABINET 


Rectangular shape, in two portions. The upper portion, 
with molded, carved and fluted cornice mounted by two statu- 
ettes of classic deities, frieze carved with groups of sportive 
Putti at the angles, with an escutcheon supported by two Putti 
in the center and with Putti holding aloft crowns between. 
The body is supported at the angles by two tiers of carved fig- 
ures standing on brackets supported by Putti and female masks. 
The front is divided into five drawers with paneled fronts and 
molded bronze handles, and into three cupboards with hinged 
doors having arched niches filled in the center with Venus and 
Cupids and at the sides with Putti. ‘These doors are framed with 
broken pedimented classic porticoes, the friezes and cornices 
supported by nude figures. The plinth is carved with a winged 
Cherub and acanthus scrolling and the feet are carved as gro- 
tesque couchant animals. Yaw. Corll, 
The lower portion with molded and carved top, frieze fitted 
with two drawers having fronts carved with acanthus scrollings 
and bronze handles formed as masks with pear-shaped pendants, 
separated by a die with female mask and flanked by dies with 
lions’ masks. The body is arranged as cupboards with two 
hinged paneled doors, the center carved with arched niches 
occupied by figures of Saints and surrounded by baroque por- 
tiéres with reversed broken pediment friezes carved with acan- 
thus modillions and plinth carved with winged Cherubim. ‘These 
doors are separated and flanked by Ionic pilasters, the center 
one with a draped Caryatid, the side ones with nude Caryatids, 
all three with pendants of fruit and square bases. Molded base 
carved with Putti, mask and acanthus scrollings and turned ball 
feet. All the carving is in the style known as “Bombocev’ or 
eccentric. 


Height, 6 feet 8 inches; width, 4 feet 2 inches; depth, 2 feet 2 inches. 
(Illustrated) 


No. 512-—SIxTEENTH CENTURY LicuRIAN CarvED WaLNnutT CABINET 


[000 -~ 


Third and Last Afternoon 


5183—EIGHTEENTH CENTURY FRENCH LACQUERED ESCRITOIRE J 


Rectangular, of red lacquer, with Chinoiserie decorations in 
raised gold lacquer and black. In two portions, the upper one 
of which is arranged as a cupboard with compartments for 
papers and center cupboard with hinged door, with two hinged 
doors with round-arched tops, the outer surface fitted with mir- 
rors, the inner surface with lacquered panels. Above is a twin- 
arched cornice and pierced, carved and gilded rococo scrolled 
cresting. ‘The lower portion has sloping fall front giving access 


_to interior of desk fitted with shaped lacquer-fronted drawers, 


a central compartment with hinged door and pigeonholes. Be- 
low are two short and two long drawers with brass swing handles 
and shaped brass keyhole escutcheons. Bracket feet. 
Height, 7 feet 10 inches; width, 3 feet 5 inches; depth, 2 feet 1 wmch. 
(Illustrated) 


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Frencn Lacauerep Escriroirer 


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No, 518—Eicutrerntu Cenru 


No. 518—EicHTrEEntH Century Frencu Lacaurrep Escritoire 


Third and Last Afternoon 


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514—SIXTEENTH CENTURY TuscAN WALNUT CABINET TABLE hn. V/. Le La ae Wj 
Rectangular shape. Plain heavy top. Frieze fitted in front / 
| with four drawers, with paneled fronts and turned wooden 
{ 60 ~ knobs. Separated and divided by panels molded to correspond. 
Pedestal, extending to the length of the table, fitted with two 
cupboards each having on either side two hinged paneled doors 
with turned wooden knobs, separated and flanked by fluted 
pilasters, on cross bases with molded and voluted feet. 


Height, 3 feet 1 inch; length, 8 feet 914 inches; width, 3 feet 4 inches. 


Third and Last Afternoon 


515—EIGHTEENTH CENTURY VENETIAN LACQUER CABINET Uist 


Rectangular shape, made in two parts, with shaped fronts deco- 
rated in Venetian lacquers of gold and colors on a white ground. 
The upper portion, with molded cornice and frieze painted in a 

F2 5- honeysuckle and C-curve patterning, is arranged as cupboards 
with three hinged doors, the center one of which is painted with 
the figure of a warrior under a canopy and flanked by military 
trophies, the side ones decorated with painted and raised panels 
and quatrefoils. The curved side panels are painted with Re- 
naissance arabesques, while below are six drawers with scroll 
painted fronts. The lower portion is arranged with three 
drawers and three cupboards with hinged doors, all painted 
and decorated to correspond with those above. Molded base 
and bracket feet. | 


Height, 7 feet 5 inches; width, 4 feet 6 inches; depth, 1 foot 5 inches. 


(Illustrated) 


Lon 


516—EIGHTEENTH CENTURY VENETIAN LacQuER ESCRITOIRE re 


Rectangular shape, decorated in Venetian lacquer on a white 
ground in colors with diapers, arabesques and shaped panels oc- 
| cupied by subjects of classic ruins, and landscape with Amorini 
fa. O- and figures in eighteenth century costumes. Made in two por- 
tions, the upper one arranged as a cupboard with two hinged 
doors, above which is a broken curved pediment with carved 
scrolled escutcheon in the center. The angles are chamfered 
and the paneled sides flanked by pilasters with raised panel 
shafts. ‘The under portion is divided into three drawers with 
bowed fronts, and a fall-fronted desk fitted with drawers and 
pigeonholes, and is flanked by pilasters having shafts carved 
with husk-pattern pendants. Molded base and bracket feet. 


Height, 7 feet 10 inches; width, 4 feet; depth, 2 feet 1 inch. 


N LaceuvErR CABINET 


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No. 515—E1cuHTE 


Third and Last Afternoon 


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Rie enutowan Century VENETIAN Lacquer EscrirorrE fae 


Rectangular shape, decorated in Venetian lacquer on white 
ground in colors with diapers, arabesques and shaped panels oc- 
cupied by sub Jects of classic ruins, and landscape with Amo- ‘ 
rini and figures in eighteenth century costumes. Made in two 
aes portions, the upper one arranged as a cupboard with two hinged | 
vi doors, above which is a broken curved pediment with carved 
scrolled escutcheon in the center. The angles are chamfered 
and the paneled sides flanked by pilasters with raised panel 
shafts. ‘The under portion is divided into three drawers with 
bowed fronts, and a fall-fronted desk fitted with drawers and 
pigeonholes, and is flanked by pilasters having shafts carved 
with husk-pattern pendants. Molded base and bracket feet. 


Height, 7 feet 10 inches; width, 4 feet; depth, 2 feet 1 inch. 
(Illustrated) 


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No. 517—EIcHTEENTH CENTURY VENETIAN 


518—FirreEENTH CENTURY VENETIAN WALNUT TABLE , 


Ne hee 


Rectangular shape. Plain top, with apron fitted wit 
molded panel-fronted drawers with brass loop handle: 2 
molded escutcheons. Supported on longitudinal paneled pec 
tal with shaped brackets on shaped, molded acanthus- leaf 

and voluted cross bases. | at 


(Illustrated) | “ ad gy Pa 2 a ; 


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Third and Last Afternoon . ene wey. Bak 


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519—SIxTEENTH CENTURY FLORENTINE WaLNuT Desk CABINET 
Rectangular shape, in two parts. Upper part, with molded and 
dentelled cornice and fluted bowed frieze supported by twin — 
fluted and astragalled Doric pilasters, is arranged as cabinet ha 


Ny Fe with paneled and carved fall front and. fitted with twenty pe I | 


drawers with paneled fronts. ‘The lower part arranged as cup- 
board, with two hinged doors with paneled fronts having im- 
bricated moldings and wooden knobs. Above are two drawers 
with paneled fronts and wooden knobs, and at the sides are 
pilasters with shafts paneled to correspond. On molded and 
acanthus-leaf carved base. 7 


Height, 5 feet 6 inches; width, 4 feet 4 inches; depth, 1 foot 3 imches. 
(Illustrated) i am 


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Third and Last Afternoon 


520—FIFTEENTH CENTURY FLORENTINE WROUGHT-IRON Garacaniet (8 
Rectangular shape, in four divisions, the central two of which 
are hinged to form a gate. Each of these divisions divided by 
a horizontal bar into two panels which are filled with a diapered 

| patterning of quatrefoils of wrought strap iron connected by 
(Me Sige wrought-iron collars. Above is a frieze of wrought-iron scroll- 
ings and flowers with fine-pointed petals, and the whole is sur- 

mounted by a row of wrought-iron spikes and hooks. The 

uprights are studded with round-headed iron rivets and the 

gates are secured with a hinged harp and quatrefoil-shaped 

lock plate. : : 

Height, 4 feet; length, 13 feet 3 inches. 


(Illustrated) 


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Third and Last Afternoon 


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521—SIXTEENTH CENTURY TuscAN WaLNuTtT TABLE 


Rectangular shape. Top with fluted undermember supportec 

7 Fa= by voluted brackets and longitudinal square brace on three 
square columnar-shaped legs with molded capitals, neckings 
and bases and shafts carved at the angles with acanthus leaves. 
On three molded cross bases terminating in lions’ paws. 


Height, 2 feet 101% inches; length, 12 feet; width, 2 feet 614 imches. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


INTELLIGENT APPRAISEMENTS 


OF 


ART AND LITERARY PROPERTY 
JEWELS AND PERSONAL EFFECTS OF EVERY 
DESCRIPTION 


IN CASES WHERE 


PUBLIC SALES ARE EFFECTED 


A NOMINAL CHARGE ONLY WILL BE MADE 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 
NEW YORK 
TELEPHONE, 3346 GRAMERCY 


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